JOURNAL ofthe AMERICAN ViOLA SOCIETY

Section of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion ofViola Performance and Research Vol. 12 No.1 1996 The Journal ofthe American Viola Society is a peer-reviewed publication ofthat organization and is produced at Brigham Young University, © 1985, ISSN 0898-5987. JAVS welcomes letters and articles from its readers.

Editorial Office: Department ofMusic Harris Fine Arts Center Brigham Young University Provo, UT 84602 (80 l) 378-4953 Fax: (801) 378-5973

Editor: David Dalton Associate Editor: David Day Assistant Editor fOr Viola Pedagogy: James Irvine Assistant Editor fOr Interviews: Thomas Tatton Production: Jane Clayson Advertising: Jeanette Anderson

Advertising Office: Crandall House West Brigham Young University Provo, UT 84602 (80l) 378-4455

JAVS appears three times yearly. Deadlines for copy and artwork are March 1, July 1, and November 1; submissions should be sent to the editorial office.

Ad rates: $100 full page, $65 half page, $35 one-fourth page. Classifieds: $25 for 30 words including address; $40 for 31-60 words. Advertisers will be billed after the ad has appeared. Payment to the American Viola Society should be remitted to the advertising office. OFFICERS Thomas Tatton President 2705 Rutledge Way Stockton, CA 95207 (209) 952-9367 Pamela Goldsmith Vice-Presiden t 11640 Amanda Drive Studio City, CA 91604 Donna Lively Clark s.ecretary 4820 Buttonwood Crescent Indianapolis, IN 46208 Mary I. Arlin Treasurer School ofMusic Ithaca College Ithaca, NY 14850 Alan de Veritch Past President School ofMusic Indiana University Bloomington, IN 47405

BOARD Atar Arad John Graham Jeffery Irvine Jerzy Kosmala Patricia McCarty Donald McInnes Paul Neubauer Dwight Pounds Karen Ritscher Pamela Ryan William Schoen Peter Slowik

EDITOR, fAVS David Dalton Brigham Young University ------"..",-··.·-.....&b>= -. =- __ -: Provo, UT 84602 ___i

PAST PRESIDENTS Myron Rosenblum (1971-81) Maurice W. Riley (1981-86) David Dalton (1986-1991) ------_.- -~------

HONORARY PRESIDENT William Primrose (deceased)

~crySection of the Internationale Viola-Gesellschaft The de Veritch Institute of Viola Studies presents

VIOLA CAMP '96

'WONDERFUL WORLD OF VIOLA PERFORMANCE I

August 2-8, 1996 August 9-15, 1996

An intense summer camp dedicated to the practice, training andperformance ofthe VIOLA. -- Directed by -- Internationally known violist, recording artist andpedagog Alan de Veritch To be held in Malibu, California at the spectacular campus of Pepperdine University, featuring breathtaking views of the the Pacific Ocean Program will consist of: > technique & pedagogical workshops > master classes in both solo & orchestral repertoire > viola ensemble coaching & performance > student &faculty recital performances > guest lecturers > supervised practice

Applicants may enroll either as playing participants or auditors for one or two weeks. This camp is designed for talented violists ofvaried ages and expertise(young students thru seasoned professionals) For information &aIDllications: de Veritch Institute 2711 Brigs Bend (812) 855-3043 Bloomington, Indiana 47401 3

FROM THE PRESIDENT

wo AVS giants will retire from our Tboard this year. Each served with tireless dedication. Both brought to our board unique viewpoints, enormous depth ofexperience, a high level ofaware­ ness, and uncommon good sense. Their guidance and influence will shape the direction and philosophy of the AVS for years to come.

Dwight Pounds: Everybody who knows Dwight appreciates his percolating personality, great wisdom, quick wit, skillful teaching, scholarship, and musi­ cianship. He has served our AVS with Thomas Tatton, AVS President character and distinction since 1981: as vice-president from 1981 to 1986 and as chair of both the Awards and Nominations committees, as well as working with past president Maurice Riley on the by-laws. He has since maintained and kept that document current. His book The American Viola Society: A History and Reference is an extraordinarily thorough volume that has captured and chronicled our history. For his service and varied contributions, he was awarded the Distinguished Service Award in 1985.

Donald McInnes: Donald is a consummate performer and teacher, a friend with an infec­ tious laugh, a humanistic and approachable personality. He has a love of life and the unique ability to express that love vividly through his music and his teaching. Donald has served our AVS with excellence since 1981. His interests and committee work included the Primrose Scholarship Competition, the Awards Committee, and "Chapterization." He has appeared at several congresses as a performer, panelist, Primrose Competition judge, and master class teacher. For his contributions to the advancement of our instrument and of the AVS, Donald has received the AVS Distinguished Service Citation in 1989 and the AVS Outstanding Achievement Plaque in 1995.

What is admirable and powerful is that both gentlemen-always dependable-attended meetings, congresses, retreats, and sat on committees, sometimes at great cost and sacrifice, with good humor and great elan. They will be missed.

Thank you Dwight! Thank you Don!

5

ANNOUNCEMENTS

ELECTION OF NEW AVS BOARD MEMBERS

You have received a self-addressed envelope and ballot in this issue of]AVS. Please remove and mail the ballot by 6 MAY 1996. Any ballots postmarked later than 6 May 1996 will not be counted.

Newly elected board members are invited to attend the national AVS board meeting on 31 May-2 June 1996 at the University ofTexas in Austin.

XXIV International Viola Congress 27-30 June 1996 Markneukirchen, Saxony, Germany

For further information, contact Uta Lenkewitz-von Zahn, Ahornweg 9, D-53359 Rheinbach, Germany. Tel 02226-7375

No group transportation flights will be sponsored by the A VS.

:xxv International Viola Congress 3-7 June 1997 Host Chair: Profissor Roger Myers School ofMusic, University ofTexas Austin, Texas 78712-1208 6

Application: XXIV INTERNATIONAL VIOLA CONGRESS MARKNEUKIRCHEN/SaxonyIGermany June 27-30, 1996

Last Name First MI

Street, Apt. No., and/or Box Number

City State Zip Code

Profession Institution Represented

I wish to take part in the congress on the following days: 27 June, 28 June, 29 June, 30 June (Registration takes place the morning of 27 June with official events opening at noon. Please indicate those days you wish to join us.)

I wish to participate in the following events at no extra charge: __Early morning technical jam session: _28 June, 29 June, 30 June __Visit to the Museum of Musical Instruments (3000 items). __Visit to workshops of instrument makers. __Viola ensemble playing.

I wish to participate in the following events with extra charge** as stated: __Barbecue dinner on the first night, atop Markneukirchen Berg (weather permitting): OM 12 __Bus tour through the ERZGEBIRGE, Sunday afternoon, 30 June (meals not included): OM 60 __Full day bus tour to DRESDEN, Monday, 1 July 1996 (meals not included) OM 90 __Treatment in Alexander technique, 45 minutes OM 45 **Notice: Prices quoted for extra events are subject to revision. These fees will be paid on site.

I prefer a bed in a good hotel, breakfast included, for persons @ OM 85 X_ days each. OM I prefer simpler accommodations, but to include bed and breakfast for persons. **Hotel expenses will be paid on site. Cited costs are per person.

I/We shall arrive by: train car on: 27 June 28 June 29 June 30 June I/We shall depart on: _28 June _29 June _30 June _1 July _2 July _Later than 2 July. Please state date if possible: _

CONGRESS XXIV REGISTRATION FEES: Full Congress participation, all scheduled events: AVS Full Membership OM 80 AVS Student Membership: DM 40 Other Guests (non AVS/IVG members) DMlOO Students: DM 50 Single Day Tickets: OM 40 per day 7

NOTICE: NORTH AMERICAN DELEGATES TO INTERNATIONAL VIOLA CONGRESS XXIV

1. Americans need not send money to Europe if they register before 20 March 1996. Late registration is permitted but will carry a $10 late fee. Send the application to Dr. Thomas Tatton BEFORE 20 March 1996, but to the German address cited in the application form if posted 21 March or later.

2. The Alexander Technique cited above is a method of treating common injuries suffered by performing musicians. Cost is DM 45, approximately $32 U.S., to be paid on site.

3. Using the admittedly conservative exchange ratio of DM 1.40/$1.00 U.S., the cost of registration (DM 80) and four evenings in the hotel (DM 340) is approximately $300 U.S. for a person AVS holding full AVS membership. Spouses of AVS members will pay the same costs as members. Hotel room costs cited above are per person; negotiations are still under way between the IVG and the hotel management for the lowest possible fee. Payment of registration costs to one common American fund will both facilitate and simplify exchanging money and lower overall costs. Please make your check to the order of International Viola Society and send to Dr. Thomas Tatton, 2705 Rutledge Way, Stockton, CA 95207. Delegates presenting recitals or lectures will pay their expenses at the Congress.

Fee payment covering registration guarantees your full participation in all Congress activities and concerts with the exception of those cited above for which an extra charge is stated. Registration after 20 March 1996 will carry a late fee of $10. Spouses will pay the same fees as members.

PAYMENT OF FEES: North American delegates need not send money to Germany in advance. Checks will be made payable to the INTERNATIONAL VIOLA SOCIETY and sent to: Dr. Thomas Tatton, 2705 Rutledge Way, Stockton, CA 95207. Congress XXIV performers and lecturers will send no money.

___A copy of my payment of $60 full/$30 student membership for registration is enclosed.

I_ am a current member of the American Viola Society. I_ am not a current AVS member, but my annual membership dues ($30 full, $15 student) are enclosed with this payment in addition to the $60 or $30 registration fee.

Applications posted after 20 March 1996 must be sent with fee payment to: Internationale Viola-Gesellschaft Ahornweg 9, D-53359 Rheinbach, Germany Phone and FAX from USA: 011-49-2226-7375

Date and Place Signature

Any AVS members planning to visit Prague at the conclusion of the Markneukirchen Congress and who wish company, contact Michael Vidulich, ANZVS, ~O. Box 47-126, Ponsonby, Auckland, 1, New Zealand. 8

AVS/HR

Dwight Pounds's compendium of the Society's first twenty years, The American Viola Society: A History and Reference (ISBN 1... 886601 ... 00... 3), is now in its second printing and available once again. The book documents the founding and early history of the Society and lists, with cross references, the partici... pants and literature of the first ten North American viola congresses, JAVS, and Die Viola/The Viola articles, and it publishes in English the first four newsletters, which appeared only in German. 355 pages, $24 (spiral binding) or $28 (standard book binding), plus $3 shipping and handling. Order from Dwight Pounds, Department of Music, Western Kentucky University, Bowling Green, KY 42101; fax (502) 745 ... 6855.

AttentionJAVS Advertisers:

. . . .. ,.. . Effective inJAVS, VOlume II NO.3, December I99S, requestsfof:J~fign- -- or-major content changes ofadvertisements will require a $IS destinpeL Thzs new policy has been necessitated by the large number ofrequests fOr design-changes. suchrequests~ we dOJ however, welcome all

SOLICITATION OF ARTICLES

JAVS is a peer-reviewed publication. For scholars, teachers, college students, and others who have unpublished articles, papers, documents, and dissertations, JAVS and the Viola Yearbook offer the possibility for publication. Submit any of your writing on the broad subject of "viola" to the editor:

Dr. David Dalton BYU Music-HFAC Provo, UT 84602 9

BE A CONTRIBUTOR TO OR BENEFACTOR OF THE AVS.

Your contributions are tax-deductible and would be greatly appreciated.

(SEE MEMBERSHIP ENROLLMENTFORM IN THIS ISSUE.)

IF You LOVE THE VIOLA AND FEEL WARMLY TOWARD THE SOCIETY OF VIOLISTS, WHO WOULD You NAME AS A BENEFICIARY OF YOUR ESTATE?

The AVS Endowment? or The Primrose International Viola Archive? or The Primrose Memorial Scholarship Fund?

Special 1993 issue from the Friends ofthe Brigham iOung University Library on the PRIMROSE INTERNATIONAL VIOLA ARCHIVE (PIVA)

Copies still available from:

Friends of the BYU Library HBLL-BYU Provo, UT 84602 Tel: (801) 378-4301 Fax: (801) 378-6347 $8.00 each prepaid; $10.00 each by· invoice; checks to "Friends ofBYU Library" Bela Bartok's VIOLA CONCERTO

A facsim.ile edition of the autograph draft is available.

Bela Bart6k's last composition was left in the form of sketches, as the composer died before he had the opportunity to prepare a full score. The work became known in Tibor Serly's orchestration; a second variant by Nelson Dellamaggiore and Peter Bart6k was recently produced. The facsimile edition shows what has been written by Bela Bart6k and what was added or changed by others. The publication contains full size color reproductions of the sixteen manuscript pages (two are blank) of the sketch; an engraved easy-to-read fair copy, commentary by Laszl6 Somfai and explanatory notes by Nelson Dellamaggiore, who prepared the fair copy. Texts are in English, H1.1ngarian, German, Spanish and Japanese. Total 92 pages, 15 1/2 x 12 inches (39 x 30 em), hard cover.

u.s. $100.00 (including postage and handling) Published by:

Bartok Records

P.o. Box #399, Homosassa, FL 34487 11

COMMENTARY ON THE REVISION OF BELA BARTOK'S VIOLA CONCERTO

by Peter Bartok

I. BACKGROUND

"Three people want to commission compositions from me:"-my father wrote to me in Panama, on 8 February 1945,-"one a viola concerto, another a piano concerto, and the third a two piano concerto. Well, this is really nice. But the only problem is, how and where could I ever write down this large volume of music! Hardly here in New York City." In his next letter (21 February 1945) he wrote that he had rejected "one of the three" com­ missions. In a letter to my father (22 January 1945) William Primrose expressed his joy at my father's willingness to write the Viola Concerto. While the record indicates that Primrose invited my father to hear him play the Walton Viola Concerto at a rehearsal on Saturday, 10 March 1945 (NBC Symphony, Malcolm Sargent conducting), and called for him at his apartment only to find him too ill to go-leaving behind his umbrella-it seems that my father did hear the broadcast of that concert the following day at home, but had already decided earlier to write the concerto. We next learn that my father had some difficulty in putting ideas together, but eventually had the work in an "embryonic state," as he drafted a letter to Primrose at Saranac Lake, N.Y., dated 5 August 1945:

About mid-July I was just planning to write you a rather desponding letter, explaining you the various difficulties I am in. But, then there stirred some viola­ concerto ideas which gradually crystallized themselves, so that I am able now to tell you that I hope to write the work, and maybe finish at least its draft in 4-5 weeks, if nothing happens in the meantime which could prevent my work. The prospects are these: perhaps I will be able to be ready with the draft by beginning of Sept., and with the score by the end of the same month. This is the best case; there may be, however, a delay in the completion of the work until the end of Oct. So, about the end of either Sept. or Oct. you will get from me a copy of the orch. and the piano score-if I am able to go through with the work at all. Then, certain time must be given for the copying of the orch. parts. This, of course, will be done by B. & H. who are, as far as I know, short ofcopyists. I Inust ask you to make no plans and not yet divulge the news about this work as long as the draft is not completed. I will send you news about the completion without delay. However embryonic the state of the work still is, the general plan and ideas are already fixed. So I can tell you that it will be in 4 movements: a serious Allegro, a (rather short) slow movement, and a finale beginning Allegretto and developing the tempo to an Allegro molto. Each movement, or at least 3 ofthem will [be] preceded by a (short) recurring introduction (mostly solo ofthe viola), a kind ofritornello.

Copyright © 1992 Peter Bartok. Except as otherwise noted, musical examples are © 1950 Boosey 6' Hawkes, Inc., andare reprinted by permission ofthe publisher. 12

It is believed that this draft was never finalized into a letter or mailed, but another letter was written to William Primrose on 8 September 1945 that was sent and gave more up-to-date information:

I am very glad to be able to tell you that your viola concerto is ready in draft so that only the score has to be written which means a purely mechanical work, so to speak. If nothing happens I can be through in 5 or 6 weeks, i.e. I can send you a copy of the orchestra score in the second half of Oct., and a few weeks afterwards a copy (or ifyou wish more copies) of the piano score.

The letter did not contain any information as to the work's structure, the number of move­ ments, but related the following:

Many interesting problems arose in composing this work. The orchestration will be rather transparent, more transparent than in a violin concerto. Also the sombre, more masculine character of your instrument creates some influence on the general

character of the work. The highest note I use is ~ but I exploit rather fre­ quently the lower registers. It is conceived in a rather virtuoso style. Most probably some passages will prove to be uncomfortable or unplayable. These we will discuss later, according to your observations.

(The remainder of the letter relates the difficulties my father had that summer, illness both of himself as well as my mother, the unsuitability ofhis New York apartment for such work, made even worse by his landlord's demand that he vacate the apartment by the end of September when he had no other place to move.) Shortly after writing this letter my father's condition suddenly deteriorated and, on September 26th, he died. The Viola Concerto manuscript was found in his bedroom; subse­ quently our friend, Tibor Serly, agreed to examine it and undertook the very difficult task of realizing from it the orchestra score in use since 1950.

II. THE REVISION

My father's estate had been under trust administration until 1985 and I was not permitted any voice in its business. The manuscripts were housed in various, comparatively safe places; that ofthe Viola Concerto, however, disappeared in 1953 and was found, by the trustee's family, some twenty years later. In 1985 I took possession of the manuscripts and commenced the work ofcomparing the manuscripts with printed editions and correcting the latter. In 1989, partly at the urging of violist Paul Neubauer and partly as a logical chapter in the correction program, Nelson Dellamaggiore and I undertook correction of the Viola Concerto. It was immediately apparent that this was going to be a more complex correction project than all others, where we could refer to final scores my father had prepared for the engraver. The Viola Concerto sketches are not an orchestra score; they are fourteen pages of jottings, consisting of a complete viola part, but the role of the orchestra is only outlined in one or more, up to about four, staves. There are a few indications, clues for orchestration, e.g., "cl" next to a phrase called for assignment to clarinet. Arrows and various symbols direct certain juxtapositions ofwhat was written down. Direct comparison of the sketches with the orchestra 13 score-for the purpose of detecting typographical errors-seemed hopeless without a more legible copy ofthe sketch. One of the first puzzling features noticed in the sketch was the unequivocal indication for the beginning ten bars: this was to be a duo between the solo viola and timpani, whereas in Tibor Serly's orchestration the accompaniment is by cellos and bass. The whole score needed to be examined for any similar discrepancies. Nelson Dellamaggiore set out to prepare a clean copy of the sketch and the work of compar­ ing it with the score began. It was found-and pointed out to us by Paul Neubauer also-that there are substantial differences between the viola solo line in the orchestra score and that in the sketch. The differences omitted notes; a whole section was transposed up one-half step; two bars ofthe viola solo part were, instead, assigned to orchestra instruments; etc. Mr. Serly undoubtedly made the changes for definite purposes-the added bars were explained in an article; 1 the octave shifts may have been for playability, the added bars and ornamental changes are musically effective-my father could have made such changes in the course of transforming his ideas from his own sketch to the final score. Since the viola part as sketched is all playable, however, a revised score was prepared that conforms to the sketch as much as possible. Thus, the public will have opportunities to hear the revised version, while continuing to have occasion to hear Tibor Serly's realization also. In addition to the viola part, that sin1ply needs to conform to what is found in the sketch, the orchestra part presented a number of major problems or challenges (in addition to the many small points that cannot be individually mentioned); some ofthese will be described here.

I. Movement

Timpani, opening pas~age The first ten bars are written out twice in the sketch, one bearing marks of being a more cer­ tain, second version. Both are written on two staves only, viola solo and accompaniment; the latter, in both cases, labeled timp. There appears to be no doubt that the composer intended this to be a duo by solo viola and timpani.

Why, then, did Mr. Serly assign the accompaniment to cellos and a bass? He gave no written explanation; his decision becomes comprehensible after the entire first movement has been ana­ lyzed, particularly the concluding seven bars. Here a variant of the opening theme, assigned in the first ten bars to timpani, returns:

Ill['

". - [1. 1)* [1.~ .. 1)* u 1\ I 0--::::::=~

L1.V~ ~ ~ ~ ~

: --- I I 1l'. 1)* - I ~ 14

Although there is no instrument labeling here, it seems probable that the timpani were intended again. 2 The variant, however, contains some additional pitches (and not all those that are in the first ten bars), including a low C. Quite a few timpani are needed, one very large, mostly ofthe pedal type. It seems likely that Mr. Serly chose to switch instrumentation in order to make the work performable by small orchestras without access to all the timpani required.

Canon in four octaves (bars 90-94) The sketch here presented a puzzle. It shows a canon in four parts; the second and third entries are each an octave lower than the preceding; the fourth entry is written again an octave higher, in the same range as the second. Above the first entry we find an "8". It may be noted that the lowest note in the melody is C:

'~ - ,. 11-

,. -.J *,-~ ~ iJ. ,...... , ~ ~. b~ b:8:~1 II 8 _I I ~ I J r-, J r-, -t r; - - I *' I~~ f ~ ~l'1 J1~ I J I 1 ,..-.., i1bj _I I ( : ~~* --- I CJI ~ r r b. ~ ~. ~ ( :

It was concluded that the general idea was probably a canon in four octaves, which did not quite work out as first written down-the fourth entry was found to fall in a very low range and was written in a higher octave instead. The solitary "8" suggests an octave adjustment upward. The many crossed-out notes in this section give the impression of a working sketch­ it would undoubtedly have been perfected in the next generation manuscript. Following the hint presented by the "8", the first three parts were transposed an octave higher, while the fourth part was shifted so it commences one octave lower than the third. The four voices appear to be in a harmonious relationship and in the revised scores the canon appears in the four octaves-which may be what the composer intended. (The first movement has other canons in three or four octaves). With the octave adjustment the third and fourth parts reach the lowest tones on the viola and cello respectively, whereas only the violin appears suitable for the first and second entries. These circumstances suggest the strings (excepting bass), and the section is scored for string orchestra. The first voice-first violins-reaches a high Db at the end, causing concern but, as other Bartok scores make similar demands on the first violins, this appears permissible. The sec­ ond violins are already a comfortable octave lower.

Bars 167-182 In this section the sketch left much to be "filled out" later. (Bela Bartok made the sketch for his own use and the clues were sufficient for him, as he undoubtedly knew very well what he wanted-or left the solution of a problem for the time he prepared the final score.) For bars 167-173 the viola line was written out, which is a transposed variant of bars 48-53 with an orchestra bar added. Filling in the other instruments would have been simple, except for the fact that the transposition of the viola line changes by an octave in bar 167. Transposition of the other instruments needed to be likewise adjusted, so as to avoid conflict with the solo instrument. 15

In bars 174-182 the sketch is blank and it is reasonably certain that the intent was another version of the tutti in bars 54-60. Tibor Serly created his version of the tutti, added a bar (174), a fanfare by three trumpets (which he extended into a 5/4 bar subsequent to printing of the score) and extended the concluding section by one bar. The tutti is highly effective and is retained in the revised score, with a minor modification in the extended concluding bar.

Bars 219-220 In the sketch bars 219-220 contain a short cadenza-like passage for the solo viola alone, with firm rest marks inserted in the two staves used for orchestra here:

Z~":'------~-----l loco " - - ..

oj ~.

----j ~

In the revised score the two bar viola solo cadenza appears as sketched; all instruments of the orchestra have rests.

Transition to the second movement Four bars have been added by Tibor Serly in his score (extracted from bars 153-156, with a variation at the end) so as to lead to the E major chord opening the second movement. In the sketch, however, the change of meter from 4/4 to 2/4 as well as the three maverick notes D#-C#-C~, tagged on following the last descending 32nd sextuplet A#-A~-G#-F#-E#-E~, sug­ gest continuation with some music in 2/4 beginning on C (see the section on continuity), rather than with the slow movement.

A A

Suitable music in 2/4, beginning on C (scherzo), has been composed but (probably as an afterthought) attached to the end of the slow movement to precede the finale, so it is no longer available to follow here. It seems that my father decided, at one point, to change the plan from four to three move­ ments, but left the sketch unaltered at the end of the first movement, with the D#-C# leading to the first note, C~, of the now differently utilized scherzo movement. In order to provide a smooth transition to the slow movement beginning with an E major chord-in effect, return to E following Bela Bartok's three notes which brought us down from E to C-Tibor Serly added the four bar modulating bridge. In the revision of the score this was, at first, retained as a pleasant solution to the problem. In the absence of any written indication of what change Bela Bartok was planning to make here, also not wanting to change or delete anything he did write down, we kept the four bar interlude which eliminated the somewhat jarring termination of the solo viola cadenza on C, followed by the tranquil E major chord ofthe second movement. Further analysis, however, led to a conclusion dictating a different approach. It seems virtually certain that the three notes D#-C#-C~ were appended to follow the last 32nd sextuplet so as to lead to the scherzo, where the ~ C in the solo viola was to be bar 1, beat 1: 3 16

bb~ ~ bb~ ~ i\ i\ bf·~. bb, ~~

.,. ~ iIJ" 6 -tt .. '1" ~--- ~ ~.. . U It * * 6

tJ 'f I I h. ~ ~. ~j ~. : ----- It seems that these three notes were written here for one specific objective; the C is actually not a concluding note (there is no t after it), but already the first note of the scherzo. Elimination of the scherzo from this position rendered these three notes superfluous; as they neither conclude the preceding passage, nor furnish a transition to the beginning of the slow movement, they would probably have been deleted by the composer from the final score. Just what he would have put in their place-how he would have ended the preceding solo passage, or connected it attacca to the slow movement, we will never know; it is not unlikely that even Bartok himselfleft this-for him minor-problem for later attention. Once deletion of the three notes in question can be justified, connecting the passage of 32nd sextuplets appears feasible without the addition of the four bar modulating bridge. The pre­ ceding descending runs all land on E~; a repeat of the run considerably slower and with dimin­ ishing dynamic seems to lead naturally to the opening E major triad of the slow movement, where this triad takes the place of the last note of the run. Without claiming that Bela Bartok would have done just this, we included the solution in the revised score.

II. Movement Bars 18-29 In bars 23-25, the orchestra staves indicate the same sequence of triads in two octaves. In Tibor SerIy's orchestration the upper octave is missing; the lower octave is assigned to oboe and clarinets. Addition of the upper octave by flutes proved unsatisfactory as it is difficult to play in this high register at the required (Pp) dynamic. It seemed preferable to exchange the instrument assignment with that found in bars 20Y2-22: in the revised score this accompaniment is given to flutes and clarinets, that in bars 23-25 to strings. Thus the pattern in the whole 12 bar sec­ tion the orchestra part is: low winds-high winds-high strings-low strings.

Bars 30-39 ("the beehive") For this section the sketch is simple: a lamenting viola solo accompanied only by triads in tremolo up to the middle of bar 37, thereafter no tremolo. This requires strings at least up to bar 37, then perhaps other instruments.

--::::::::::::-- 17

Any suggestion that the composer intended more contribution by the orchestra here is contradicted by the system of only two staves in the sketch (usually where something was to be added or "filled in" later, Bartok left appropriate blank staves for the purpose). Thus the embell­ ishment found in Mr. Serly's score was deleted and the tremolo triads are given to all strings (except bass), equally distributed. It is believed that this section possesses its own drama as writ­ ten by the composer; not only is there no justification for added phrases, but they may even constitute a distraction. In bars 37-38 the non-tremolo triads are given to trumpets, signaling the end of this section (escape from the beehive?), leaving the viola solo to stand alone in bar 39-as he must, since the sketch here has a firmly drawn --- for the orchestra.

Bars 84-99 The sketch here can be regarded as a puzzle, for which a solution is offered in the revised score, but it must be stressed that the information is insufficient for the assertion that precisely this is what was intended. The preceding sixteen bars are straightforward: viola solo with orchestra in two sections of nine and seven bars respectively; in the first eight bars the orchestra part is a jocular tune (the beginning of the scherzo movement). The sections are marked with the letters A and B. Then comes the puzzle:

A ~b~ ~~. ~b: ~~~ ~. :: ~~ ~ :: ~. ~~I~ .,. ~. .,. ~. .., ...... :...r ... .- IilP"" - T T ~ /I .- *

tJ I I I ~ ~j ~ J ~. ~ ~. ~. ~ . :

~

,,~ B J=j r-J:=j f:JJ .M r:f:j F7J=i f=i:J h FFi r71=i

tJ I

I " tJ I I I I I T I r I r ~~ ~~ ~j ~j ~..J II I II I I II :

FTFi ~ fF=F=i 11 I r_" tJ . 2 tr. es corni AB 8 ______j r=; " r--r=; ri .JoI - tJ tJ I I r I T ~J ~J ~J AB I ! I :

a - - , , , tJ . . . . '. .. 18

Following the puzzle are seven bars with notes in the middle stave only (top orchestra), containing some rhythmic patterns similar to what the solo viola had in the preceding section marked B. It is eight 2/4 bars, the last one holding only ~, but if this and the preceding are combined into a 3/4 bar, we have time and pattern identical to the completed B section where a similar conversion was made by the composer. It was tempting to give up in despair and skip to the finale. Nevertheless, the puzzle was there, begging to be solved. Following is a summary ofthe facts: 1) The score is to have music of the same duration, divided in the same way, as the preced­ ing sections marked A and B (9 and 7 bars). 2) The music is to be played by two groups of orchestra instruments; all the directions are written on the two staves used for orchestra, the solo stave is left blank (note that the composer first started to write the new upper voice on the viola stave, crossed it out and wrote it on the upper orchestra stave). 3) The music is to be derived from what was in the sections marked A and B. 4) In the new B section a melody is written out that is to be either substituted, or added to, what was in the first B section, assigned to the orchestra (probably strings). 5) The upper voice ofthe first A section is to be played on two trumpets and horns. 6) The lower voice ofthe first A section is to be fOrte-presumably louder than at the first time. 7) Something in the upper orchestra part of the new B section is to be an octave lower than at the first time. A solution, satisfying all these requirements, suggested itself Repeat first the 9 bars of the A section, but the part previously played by the solo viola should be assigned to two trumpets and horns. The accompanying voice is to be f (louder). Then repeat the B part, but substitute the 7 (8) bars written out, assigned to some orchestra instruments; continue the lower (orchestra) voice as written for the B part, first time. Drop the upper voice by an octave in both sections. In the revised score this was carried out, with some exceptions. In the first five bars of the new A section the lower horn plays an octave higher than did the viola, as in the lower register the horn would be clumsy with the repeated sixteenths and the low C must have been chosen for playability of the chord of fourths (C-F-Bb-Eb). In the following four bars only three pitches are played; instead ofdropping one of the horns, the third trumpet is used. For the new A section the accompaniment is assigned to all the strings, with lower octave doubling. For the new B section, instead ofwhat was played by the viola solo the first time, the written out part in the 7 (8) bars are assigned to violas and cellos, lowered by an octave. The concluding ~ C was expanded to include the other pitches in the first version, C-G-D (inverted). Accompaniment in the new B section is assigned to woodwinds, for contrast with strings playing the melody. It has been suggested that the first B section leads naturally into the finale, and it certainly does. However, since the second B section is but a variant of the first one, it is bound to lead into the finale just as welL Perhaps the whole section, bars 68-99, can be viewed structurally as A- B- A' - B' (the identifying symbols A and B in the sketch only coincidental), common in Hungarian folk songs where the third and fourth lines are variants ofthe first and second respectivel~ While there is no way to be absolutely certain and, undoubtedly, in some respects the com­ poser would have carried out this realization differently, the solution at least makes use ofwhat was written down.

III. Movement Bars 1-13 Much of the finale is of Rumanian character (with a definitely non-Rumanian interlude later); rhythmic patterns similar to the start of the solo viola are found in many examples of Rumanian folk music and the beginning orchestra accompaniment is reminiscent of the Fifth Dance in the Rumanian Dances for Orchestra. In that score basses doubled the cellos an octave lower, even though in the piano version-which is as close to a sketch as we can find-there was 19 no such doubling. On the strength ofthis finding, it seemed permissible to do the same, adding the basses an octave below the cellos up to bar 13 inc!. In order to distinguish the opening A, its lower octave is accentuated in the revision by the tuba. The whole accompaniment for the beginning of the movement is expressed in the sketch by the formula:

Thus, the low A is alternating with the chord E-A-E. In the revised score duplication of the lower E was avoided so as to preserve this alternating pattern and no other voices were added.

Bar 21 The sketch shows here a repeat sign for the upper orchestra stave, directing repeat ofwhat last occurred on that stave, i.e., B(tr)-Bb (twice) in bar 16. In the revised score this was carried out, resulting in what is believed to be the intended pattern: bar 20: Bb-A (viola solo), bar 21: B~-Bb (orchestra); bar 22: C-B, etc. (the first note ofthe pair always with trill).

Bars 22-30 (the "river") The sketch here presents another puzzle, but with a clear-cut solution:

tr tr ~~ ~~ .- ~.-~~,a-~ tr ...ft.- ~I tr tr .. .- " tr r- J ..>-.....J - -.....J ~ /- J-j- /

..> ~ ~

The arrows at first appeared mysterious, but their objective was eventually cleared up: they directed every new entry to join those voices already contributing. Like a river's tributaries, the voices accumulate and reach the river's terminus in unison together. Violin 1, assigned the start­ ing voice, continues uninterruptedto the concluding note C, in bar 30. It may be noted that the pattern nicknamed "shave and a haircut" appears frequently through­ out the concerto. In bars 29-30 it is F#-G-C; in bars 48-49 D#-E-A; at the end of the work likewise, with an octave shift. In the revised score these phrases follow the sketch, without change ofinstruments or octave in midstream.

Bars 51-64: the canon tutti The sketch contains an idea for a canon, also in Rumanian style:

; I I I ~ - - - - r r r ~r- ._ ~ ~ ~ H" --..J- =-.J I I bis ,------1(\\....- ----, 20

It is written in C in the beginning, moving to E, and returning to C by the end. It was written down as a complete idea-both canon voices written out, but not utilized this way. When used, it was transposed a half step upward, and only the first voice was written out, the stave for the second voice left blank, but with bar lines indicating that it belonged there. Without doubt, the second canon voice, separated from the first by the same time and tone interval as in the complete sketch, needed to be added. Tibor Serly orchestrated this canon into an effective tutti, with some added material. In the revised orchestration the objective was to allow the canon to dominate, with only a barebones accompaniment, drone-like. Instrument assignment was chosen with the intent to separate the two canon voices from each other: in the first part violins against oboes, clarinets and bassoons; in the second, more robust half of the canon, flutes are added to the first voice, trumpets to the second.

Bars 65-80 In this section a simpler form of the canon melody appears as accompaniment to the viola solo. In the sketch, under the viola solo stave, two orchestra staves are found, equipped with bar lines, the upper one containing the first canon voice, the second voice to be filled in later. In the revised score two accompanying instruments are assigned the two canon voices.

Bars 81-85 Here the solo viola is silent and a derivative of the more complex canon theme appears, with accompanying voices beginning on C# and terminating on a triad ofE#-cx-A#:

Observing stem directions, this accompaniment appears to be another kind of canon. Here the first voice starts out on C# (~ ~ ) and spreads to D#-B, E-B, E#-A# in the next three bars. The second voice starts on C# in the second bar and thereafter joins the first voice; the third voice starts in the third bar and only goes to cx in the fourth. Thus, the triad E#-cx-A# in bar 84 evolves out ofthree separate voices each starting on C# at a different time. In view of the entrances of three voices, two of which split after entry, three pairs of wood­ winds are used for this passage in the revised score.

Bars 110-134 Following bar 110 the composer's sketch shows a modulation down a half step into the key of Ab by bar 114, continuing basically in this tonality to bar 177. In Tibor Serly's score the change of key occurs abruptly at bar 135. No explanation could be found as to his reasons, but the composer's reason appears to be the introduction of a new key for music of different style, the third movement up to here having been ofRumanian character:

~ ~ ~ 11- - -- - I tJ~ ...- ~ '- I -- b a b a b L I : ------21

Nelson Dellamaggiore observed that this music is reminiscent of Scottish bagpipes. The continuous Eb-Ab from bar 114, with a short interruption, to bar 130 suggests the drones, while the tune beginning in bar 117 could be played on the chanter. As Bartok probably was aware of William Primrose's Scottish origin, it would not be surprising if he included some­ thing of Scottish Bavor in a work written for Primrose. An old Scottish air was found4 contain­ ing a phrase that could be related to that in bars 117-118:

~.

- ka las- sie has

We do not suggested that Bartok incorporated the song itself into the concerto, only its flavor. After its introduction it is treated as in a fantasy up to bar 177, while it returns again at the work's ending in its original form, a fourth higher. Not everyone may recognize the Scottish tune-fragment utilized here,S but Scottish bagpipes, with a small snare drum, are familiar. To help recognition a snare drum was added in the revised score for the beginning ofthis section. The word "harmonics", written in the sketch over the entrance of the viola solo at bar 125, appeared a mystery at first and playing the tune by use of harmonics may be difficu1t. The direction becomes comprehensible once it is realized that here the viola needs to try to be a mock-bagpipe chanter. Bar 116 represents a break in the rhythm; this was an afterthought in the sketch whereas one more bar would have made the rhythm consistent, as first written down. Bass was added in the revised score, doubling the lowest tone Ab, as its harmonics coincide with the required chords. It is known that Bartok had difficulty commencing this composition as of about mid-July, 1945.6 He was much occupied writing the Third Piano Concerto, which he wanted to com­ plete before October 31; much of its contents must have already been thought out (some jotted down in Asheville, North Carolina, the preceding winter). It could be difficult to deal simulta­ neously with two composing projects. But after mid-July "there stirred some viola concerto ideas which gradually crystallized themselves"? and in another month most of the sketch for the Viola Concerto was written down. With no more authority than a hunch, it is suggested that the starting idea may have been the Scottish tune; this was then modified and converted into the work's opening theme, recur­ ring in several variants throughout the first movement as well as in the ritornello passages; e.g., bars 88-89):

r r r

Only in the middle of the third movement is the theme finally introduced in its nearly origi­ nal version. The technique is not new; Liszt's Variations on \\7einen Klagen may be mentioned, where the variants are first heard in Liszt's imaginative treatment; only near the end are we exposed to the original theme itself

Bars 154-173 The Scottish tune and its sequel are first used here in three part canons. Each appear in two variants-the tune with two endings, the sequel in its ascending, then descending format­ each instance can be viewed as a statement and answer. That theory is taken into account in the orchestration of this section in the revised score: the statement is first assigned to woodwinds 22

(bars 154-158), the answer to strings (bars 159-163); the sequel ascending to woodwinds (bars 164-168), descending to woodwinds and strings together (bars 169-171), then to strings alone (bar 173) in three octaves as prescribed.

Bars 174-177 ("the cascade") In these five bars the last phrase of the descending sequel theme is expanded to cover several octaves. These are arranged in four voices designed so that each voice reaches a lowest tone that suits the range of the violin (Eb, Ab), viola (C), cello (low C). The notes of the phrase Ab-F-Eb-c are used as entrance points for each voice, Ab-C-Eb-F, selected so that, once all four are active, vertically they always add up to the same four notes. This concludes the section ofthe movement that began with the Scottish music. Design of the voices suggested use of a string instrument for each and, in the revised score, each voice is complete and continuous. The high starting note for the cellos caused consider­ able concern and the cellos are given rests for nine preceding bars while they can prepare for the high Ab. It was desired to avoid octave shifts (except where so sketched by the composer) to preserve the nature of the "cascade." Each string is coupled with one woodwind instrument; here it was not possible to cover the two lower voices on the same instrument throughout; all four voices, however, are complete in the revision.

Bars 247-251 In these four bars two distinct events occur: the groups of four sixteenth-notes in the viola are interrupted in each bar, at beat 2, by the orchestra repeating the four notes-each time low­ ering the last note; this interruption in bar 250 is carried into bar 251 with the addition of ) , Gb, to the group of four sixteenths, which ends the call-response pattern. Meanwhile, a slow moving chromatic scale proceeds from B~ upwards, reaching Eb simultaneously with the before mentioned Gb. This two-note chord appears to be a climactic moment, to which the preceding four bars build up; from here on an upward run by the viola, with another "shave and a hair­ cut," D#-E-A, concludes the work.

" . -=!1:= -.J - - iiiiIIIIlIllII -A------1 - r_ .. -.J - - ~ I C

~ ~ '. I -:J b-:J -,!,- L h. I~n -;. ~ bp. ~ ~ :

~

In the revised score the ascending chromatic scale is assigned to strings and horns, the four note "answers" to progressively larger numbers ofwind instruments in bars 247-249, to brasses and bassoons thereafter. Thus, the origin of the two components ofthe chord at bar 251, beat 1 (Eb-Gb) should remain identifiable. Tibor Serly explained that he sensed the need for a short tutti, to break up the abruptness of the ending of this passage before the entrance of the solo viola for the concluding run. However, this four-bar tutti, inserted between bars 250 and 251 (before the Eb-Gb dyad) inter­ rupts the last orchestra phrase before its concluding note; after the tutti in place of the Eb-Gb dyad we find the triad Gb-C-Bb. 23

In the revised score a build-up in bars 247-250 is intended to anticipate the false ending at bar 251, beat 1, enhanced by a drastic allargando-molto (to ~ = 72), which incidentally also enables the brasses to play their sixteenth-notes. Precedents can be found to justify this treatment. In many Bartok compositions the ending does not occur suddenly; rather, it is preceded by what could be regarded as a hesitation, a false ending, or a climax, preceded by an allargando or ritardando. Following this momentary inter­ ruption the tempo returns, subito or through an accelerando, and the real ending is very close, perhaps after a long run by the solo instrument. Examples can be found in works such as the Sonata for Violin and Piano No.1, Piano concertos No.1, 2; Concerto for Orchestra (first ending), Solo Violin Sonata. It may be noted that the ritardando or allargando in the final versions of these compositions is usually absent from their corresponding early sketches. It is suspected that the composer contemplated such an approach to the ending of the Viola Concerto also.

Bars 251-255 The end of the composition is straightforward, a viola solo run upward with quarter-note accompaniment before the concluding chords. Instrumentation of this quarter-note accompa­ niment (before the last two chords) could be determined through close examination of the manuscript. Immediately preceding the last five measures (which appear to be the concluding section), two bars of writing can be seen, crossed out in favor of subsequently written material. The second of these two crossed-out bars contains what appears to have been the first try at commencing the viola's concluding run. Here the two accompanying notes are marked "pizz." The question arises: by crossing out this portion, did my father wish to change the whole orchestration, or only the particular notes in favor of what was written afterwards? We decided that, with greater probability, only the pitch of the notes, not their orchestra assignment, was meant to be rewritten, the "pizz." inadvertently falling victim to the crossing-out process. The orchestration of the last four bars in the revised score is for accompaniment by strings, pizzicato with the exception of the two concluding chords.

Bars 254-255, the concluding chords The manuscript provided guidance for the concluding chords, by use ofstem-directions (the connecting lines are added):

I .~ b~~~* ~ " i .. -.J - I I " , -.J r #j r-r J L. I I 'j : t I -

In the revised score strict adherence to this scheme was sought: each instrument playing one of the notes in the first chord plays the corresponding note in the second chord. Exceptions are the cellos and timpani. Rather than assigning them the E as written and the A moved an octave up, or giving them another pair of notes, they were given the E-A both an octave above what was prescribed, so as to avoid changing the downward direction from the E to the A. The written notes in the prescribed octave are already t4ken care of (tuba, bass and contrabassoon); the tim­ pani and cello merely reinforce the second harmonics ofthe respective prescribed fundamentals. 24

The suggestion has been made that perhaps Bartok did not intend adherence to the particular pitches he set down on paper, and that the same tones in other octaves-or other harmonically selected component instead of the octave unison of the last chord-should also be included. Perhaps the four N.s were meant to be regarded merely as limits, the interval to be filled in. These arguments have been carefully considered. In this sketch-at least-my father seemed to specify carefully not only the notes, but the particular octaves they were to be in, for his orchestra chords. For the concluding chords he could have easily specified notes in different octaves had he left their position open; he would not have had to write down two E's and four N.s in specific octaves. Perhaps he wanted to keep these notes in the octaves where he wrote them, and the revised score has them that way (with the exception mentioned). Regarding the possible filling in of the last chord with harmonics-e.g., E, or cl, arguing that an octave-unison chord sounds hollow: in the same way as he specified the pitches of the preceding chord, as well as those of many others in this composition, he could have written down fill-ins if he wanted them. If he had intended the sketch to show only upper and lower limits for the chord, he would not have needed to write down more than two notes. This is not the first time that an octave unison chord ends a Bartok composition: see Divertimento for String Orchestra, Fifth String Quartet. We concluded that probably for this work he planned a simple ending with an octave-unison chord.

General

It is impossible to relate every miniscule detail concerning revision of the score. The differ­ ences between Tibor Serly's and the revised score, besides the areas discussed, concern details such as enharmonic spelling, identification or length of a note, interpretation ofa tie, the direc­ tion of certain stems or the choice of a stave where something was written in the sketch, etc. Every feature in the manuscript may have a meaning, including the spaces left blank. Some areas ofproblems and their solutions follow.

Interpretation: An example: the manuscript corresponding to bar 238 in the first movement (actually part of the first ritornello) has, for the solo viola, seven notes-the first seven in that bar-followed by a short line with the words skala legle underneath:

~ c rDc Elc r..t 6E r # I gEcf#F#" " 'I 6 6 skala legle

These two Hungarian words mean "scale all the way down"; the line after the last sixteenth­ note seems to be an extensor, so this scale is to go to the lowest note reached in other scales: E~. Or examine bar 24 in the second movement. This was first sketched so:

The A at beat 3Y2 was crossed out before the beam was drawn; then the last two eighths B and A were crossed out and replaced by D-C-B-A sixteenths: 25

6££j

I' j a ~~,J ~ I

We concluded that this bar was to contain only those notes not crossed out.

Instrument assignments: Very few instruments are specified in the sketch as unequivocally as the timpani solo for the first ten bars. There are a few other instances, though: in the first movement, trp (trumpet) appears in bar 55 above the voice that began this tutti; in bar 61, for the descending orchestra voice, claro (clarinet) is specified, etc. Other instrument assignments were dictated by direction of stems or choice of octave, indi­ cating a certain continuity ofvoices. For example, in the first movement, bars 65-66, the three phrases FX-G#-Fx-G# occur in the sketch with different stem directions: the first down, the second up, the third down. This change appears deliberate and is interpreted as a desire to use different instruments for the three-otherwise identical-phrases. In the revised score the first one is assigned to cellos, as the continuation of the voice they were playing (held E); the second to bassoon; the third to horn, continuing with the extended D# (G#) in the following bars (written also with stems down). As another example we refer to the first ritornello, beginning in bar 228 of the first move­ ment. The manuscript here has the same triad, A~-F#-D# repeating a number of times until bar 238. Two staves are used, one for the viola solo, one for the triad. Two more notes, A#-D#, are found below the first triad; upon closer inspection these appear to be later additions, with the direction sim.: thus, they need to be added to the other triads too. At bar 238, however, another stave is made use ot and a bar line extended, where a cluster of five notes joins the repeating triad. As the triad was written first on one stave and is common throughout this section, in the revised score it is assigned to the same three instruments (horns), with bassoons and three more woodwinds providing the cluster in bar 238. In the third movement, bars 204-212, the sketch indicates instrumentation by the use of stem directions. Following this hint, two pairs of instruments are used in the revised score for bars 204-209; thereafter the two violin and viola sections are used for the next four bars notated with two up-stemmed voices and one down-stemmed, except in the last bar. Bar 209 appears to be a new beginning, when the up-stemmed voice starts out as a dyad a half step apart, gradually spreading out to a tenth interval. 26

Phrasing: In the manuscript, phrase marks are scarce, but where they do appear we know the compos­ er)s desire. For example, in the first movement, bars 76-78: in bar 76 the viola solo has the half notes G~-B~ connected by a slur, followed in the orchestra by B-G~-B quarter-note octaves, where the G~-B also has a slur.

~~ tJ It .ilo .

-.J - ......

It ~ ~~

-.J I I ~ It I iJ I : -.J eJ -,I -,I .. - ~ It 1 . .iloJ : ~ I

Apparently the intention was to retain the phrasing introduced in the solo viola and, in the revised score, the phrase marks follow the sketch and continue the pattern for all G~-B (in the last instance G~-A~) combinations.

Ties: Notes held over more than one bar are often indicated by unconnected ties, the note in the following bar not repeated. In the second movement, bar 1, the manuscript has three ties ema­ nating from the chord E-E-G~-B-E:

It ~ ~ f'- #~ ~ ~ ~ if. ~ P- I[ 11"- ..~ ~ - 1~ J jtJ ------~n : ------e- - eJ

The ties are placed so distant from the note heads that it is not unequivocal, by mechanical inspection, what note each belongs to, but it must be the three E)s, extended throughout the first three bars. As ties can also be mistaken for slurs, each instance required analysis.

Chords: It has been suggested that orchestra chords may be only broadly indicated in the manuscript and they needed to be "filled in.)) Examination of the manuscript tends to suggest otherwise. Take the chords in the first movement, bars 41, 42, 43: in all three, certain partials in the har­ monic series are skipped but, as so many are specified, it could be asked: if he wanted to fill these in later, why specify so many of the steps?

Other examples are in bars 161, 162, 163. In bar 162 a distance of three octaves is skipped between the bottom and top groups of G~-C~-G~: is that to be filled in? 27

In the skipped octaves we find the viola solo, as well as accompaniment. Bartok wrote to William Primrose: 8 "The orchestration will be rather transparent, more transparent than in a violin concerto." We believed that the tonal space between the upper and lower elements ofthe chord was deliberately left open, for the sake ofthe transparency referred to. In the revised score the chords follow the specified pitches, no fill-in; the only exception is an occasional bass doubling where such added bottom seemed desirable and the harmonic content ofthe added bass coincides with the specified pitches.

Octave doubling: Octave doubling are marked in the manuscript either with the note "col 8", "con 8", or writ­ ten out. For example, in the first movement, bars 208-210, the same voice is to appear in three octaves. In the revised score the three octaves are assigned to the higher strings, also to flute, clarinet and bassoon, all six instruments or groups participating from beginning to end. In the second movement, the four bars beginning with bar 58, the half notes c-Bb-F-Eb are marked with col 8 below, directing the addition of the lower octave. This and other similar octave doubling directions have been carried out in the revised score.

Instrumentation: In the revised score the complement of the orchestra has been slightly increased over that selected by Tibor Serly. English horn was added (played by the second oboist) as in two places the second oboe reached uncomfortably near the low end of the instrument's range. In the first movement, bars 21-22, the oboe part is doubled an octave lower. Rather than using a clarinet-which has just finished another voice-English horn is used. In bars 167-168 the oboe part reached B, near its limit; rather than transposing the part an octave higher, English horn is used in the revised score. Once in the orchestra, English horn could be assigned other parts previously scored for French horn, where the more agile woodwind appeared preferable. Contrabassoon is an addition, playable by the second bassoonist. The contrabasoon was con­ sidered only on account of two places in the score. The low phrase in a four-part canon, first movement, bars 23-25, is marked in the sketch: fag. is? ("bsn. also?"), leaving the question open. A compromise: where the bassoon is added but only up to where its range limit is reached, or raising the last three notes an octave higher, is held less desirable than using no bas­ soon at all-or using a contrabassoon.

cl.

- "IT

No need arises for the contrabassoon until the very end of the work, where the concluding chord's lowest A is just outside the bassoon's range. Use of the contrabassoon seems desirable for the sake of balance: enough other instruments are available for the upper three notes, but only tuba and bass for the lowest A. Again the compromise-that the bassoon play the low E in 28

the penultimate chord and an A an octave high for the concluding chord is rejected, as the instrument that played the low E needs to go further downward for the lowest A. The contra­ bassoon fills the need. It is conceded that the instrument's inclusion solely for these two occa­ sions is a luxury that cannot be expected in all performances. French horns: Although Tibor Serly orchestrated the Viola Concerto for three horns, in his copy of the score used at the recording he noted "4 horns" above bars 58-61 in the second movement; a change to be made in the next printing. Once the lower octave was added in the revised score for these four bars, enhancing the upper octave seemed necessary at least for bal­ ance. Addition of the fourth horn seemed not extravagant, considering the many other scores requiring four. Furthermore, the two pairs of horns proved useful in providing homogeneous four-note chords, such as in the first movement bars 209-210, second movement bars 42-45 and third movement bars 173-174. And there are occasions where two horns accustomed to play in the lower range seems desirable, e.g., in the second movement bar 49. Percussion: Except for the timpani opening passage, the manuscript has no directions as to use of percussion instruments. Tibor Serly used percussion and, in revising the score, we con­ cluded that the absence of percussion in the manuscript was not intended to prohibit its use; indeed, in other works the composer added percussion only in the course of preparing his final orchestra score. Percussion is used sparingly in the revised score and, in the absence of other specifications, addition of the small snare drum in the third movement for the Scottish bagpipe music beginning in bar 114, or the triangle at the change of mood in the second movement at bar 40, did not appear prohibited.

Continuity: Sequence of the movements in the revised score follows that determined previously by Tibor Serly; the available data were nevertheless analyzed so as to verify (or, correct if necessary) this sequence. Of considerable interest was the description of the movements in my father's draft letter of5 August 1945, to wit:

1. Serious Allegro - Ritornello 2. Scherzo - Ritornello 3. Slow movement (short) - Ritornello 4 Finale, Allegretto--Allegro Molto

It is almost certain that the 5 August letter draft was not available for Mr. Serly's inspection; he may have obtained a copy of the letter of 8 September that was sent to William Primrose; that letter, however, made no mention of the movements, so Mr. Serly had only the manuscript for making his determinations.9 In the manuscript, on four folios, four movements indeed begin, each at the top ofa different page. The first movement is identified by the number 1; the last movement can be recognized by the fact that, when followed on another folio, it ends with a double bar where the music strongly suggests the end of the work. Of the remaining movements, one is in 4/4, the other in 2/4; the latter fits the character of a scherzo and the former, with accompaniment reminiscent of organ music, that ofa slow movement. Following the first movement in another folio, after the double bar signifying the movement's end, there is a section recalling the opening theme that could be a ritornello; a somewhat different version is built into the latter part ofthe slow movement. 29

Then the problems arise. At the end of the first ritornello we find a solo viola part-like a cadenza-consisting of a succession of rapid, descending, almost chromatic scales ending on Eq, except the last one: that continues with three notes of longer duration, ending on C written as the first quarter note of a 2/4 bar. The meter change (from 4/4) and the C suggests continuation with some music in 2/4 that begins on C-the Scherzo. At the end of the ritornello following the slow movement, however, there is a double bar, a meter change to 2/4, then ten bars (bars 58-67 of the second movement in the score); bar 67 clearly leads into the Scherzo, containing the same four notes with the same time values, c-Bb-F-Eb, as the first bar ofthe Scherzo. The end of the Scherzo (or what was written of it) is such that it can lead naturally only to the finale, attacca; transition into the slow movement is inconceivable. In the manuscript esti­ mated timings are jotted down in the composer's hand at two places: in the folio containing the beginnings of each movement time estimates of 10, 5, 3Yz = 18lh are found, with an added total: (25?) indicating three movements already on paper and perhaps a fourth one yet to be written. In the folio containing conclusion of the first movement there is a set of more precise timings:

1. movement: 10'20" } 2. 5'10" 20'15" 3. 4'45"

It is apparent that there has been a change of plan. In the «embryonic" concept-as of 5 August 1945-the work was going to have four movements, with the Scherzo following the first ritornello. Later, however, no ritornello followed the Scherzo; instead, its ending is written so that it can be followed by the finale, while ten bars are found added to the ritornello follow­ ing the slow movement that can lead only into the Scherzo. The Scherzo itself seems to have become the beginning of the last movement, thus accounting for the increase in the timing of that movement from the estimated 3'30" to the later 4'45". What about the three notes at the end ofthe first ritornello, seemingly designed to modulate into the opening of the Scherzo movement? These must have been placed there before the change of plan from four to three movements and left intact. Most likely they would have been removed at the time ofthe final scoring and another ending to the ritornello written that would provide a smooth transition to the slow movement. (See: transition to the second movement, discussed earlier.)

Tempi: The sketch of the Viola Concerto contains no tempo markings. We are not entirely in the dark, however, as some data are available for the establishment ofapproximate average tempi of the movements. These are a) verbal tempo designations for the movements in the 5 August 1945 letter draft; b) timings ofthe movements (two different sets); c) tempi ofsimilar music in other Bartok compositions; d) metronome marks in other Bartok compositions in conjunction with the same verbal tempo designations; e) tempi or Rumanian folk music that is utilized in a large portion ofthe finale. One ofthe two sets oftimings Bartok jotted down on his manuscript appears to be ofearlier origin, allowing for more time-presumably for a Scherzo movement, following the first, that 30

had not yet been fully composed. The other timings are to the nearest 5 seconds and account for three movements only. Comparison of the two sets shows little difference between the early and later estimates of the timings of the first and slow movements (10' and 5' vs. 10'20" and 5'10" respectively), but the last movement was increased from the earlier 3'30" to the later 4'45". The difference between the early and later estimated timing for the last movement can be explained with the incorporation of the (perhaps incomplete) Scherzo into the last movement, whereas the two slightly different timings for the first and slow movements seem to be mainly the result ofgreater precision in the latter. In addition to the three movements there are the two ritornellos; these must have been included in the timings, but there is no written record ofhow. The double bar at the end of the first movement-as well as the character of the ending­ seems like a dividing point, so the timing of 10'20" for the first movement probably did not include the following ritornello (it may also be noted that in his 5 August letter my father referred to the ritornellos as "preceding" movements). The second ritornello follows the slow movement without a double bar or other perceptible separation (other than melodic content) and may have been included in the estimated timing of the second movement up to the double bar where the 2/4 time transition to the Scherzo begins. It is probable, thus, that the timing of 5' 10" included both ritornellos. Using the data so far discussed, calculated average tempi for the three movements would be

I. Serious Allegro 10'20"

Ritornello II. Slow movement 5'10" Ritornello }

Scherzo Finale } 4'45" ~ = 126

In my father's later orchestral works and string quartets, plain Allegro tempi appear in con­ junction with metronome marks in the range of ~ = 104 to ~ = 152. A "serious" Allegro, how­ ever, is likely to be slower and could be called Allegro Moderato. Such tempi are found in Bartok works with metronome marks of ~ = 92 to ~ = 126. Considering the sections with reduced tempi within the movement, it seems that Tibor Serly's choice of ~ = 104 is reconcil­ able with the available data. For the second moven1ent we only have the composer's characterization "slow", that could be called Lento. The timing and the mood suggest a metronome mark somewhere in the range of ~ = 40-60. Mr. Serly's written choice of ~ = 69 may be a bit fast, and when he recorded the work he instinctively chose a considerably slower tempo, about ~ = 40-50 in the beginning of the movement. There is no specific timing for the Scherzo; it is known only that Bartok increased the timing of the last movement, presumably when he lumped the Scherzo to the beginning of the Finale, by about 114 minutes, but this cannot be regarded as a precise time difference since the earlier timing of the last movement without the Scherzo was only a rough estimate. Using the l'15" figure, the Scherzo would have a metronome mark of ~ = 69. Using the 3'30" estimate for the finale alone, its calculated average tempo would be ~ = 146. Using the more precise timing of 4'45" for the Scherzo and finale together, assuming a smaller portion of the total time to be taken up by the Scherzo, and a larger portion by the finale, the following possible calculated tempi would result: 31

Scherzo Finale Together

(1'15") J = 69 (3'30") J=146 (1 ') J = 84 (3'45") J=136 (4'45") ~=126 (45") J = 112 (4') J=128

The beginning of the finale resembles a certain Rumanian violin music. In Bela Bartok's col­ lectionlO some examples were found to have rhythmic patterns similar to those in the finale. These bear metronome marks in the wide range of ~ = 84 to ~ = 176, average J = 126. The last movement ofthe Concerto for Orchestra contains some similar patterns, at a tempo ofJ = 134-146; the (second) Violin Concerto has in its last movement a section reminiscent of bars 51-64 of the Viola Concerto last movement, at ~ = 120; one of the 44 Violin Duos has a Rumanian dance with a similar rhythm at J = 144. Allegretto tempi in other Bartok compositions bear metronome marks in the range ofJ = 74 to J = 142, average J = 100; Allegro molto with ~ = 130 to J = 222, average ~ = 155. Considering all of the above as some guidance, the finale, starting at Allegretto tempo, could have a metronome of about J = 132 in the beginning, slower in the Scottish music section, and building up the tempo toward the end to perhaps J = 144. The Scherzo needs to be slower than the beginning of the finale, although J = 84 seems a bit too slow. Tempi within movements were specified, taking into account all available data.

Matters ofpersonal preference: One last category of changes-details of orchestration where the revised score differs from that of Mr. Serly-includes instances where those who prepared the revised score simply pre­ ferred another instrument. For example, in the first movement, bars 18-19 have an accompa­ nying chord C-A-C (the last two octaves below middle C), where the leading melody (a canon) is assigned to woodwinds in accordance with specifications in the manuscript, includ­ ing a bassoon. The accompanying chord was assigned in Mr. Serly's score to two horns and a bassoon (one horn with a transposition error). In the revised score tuba was substituted for the bassoon for the sake of increased tonal separation between melody and accompaniment, while also freeing bassoon II to prepare for its contribution in bars 23-25 on the contrabassoon. Another example: in the second movement, bars 42,45, 49 have chords that repeat: identi­ cal four-note chords A-F-D-B in bars 42 and 45; three of the same four notes, an octave lower, in bar 49.

~ I

8 ------1 IL~ ------~~ ------

J ..,J 'u

) .------I I~ l : ~ II I I --- U

In Tibor Serly's score the first chord is assigned to bassoons and two horns; the second to clarinet, bassoon and two horns (with another bassoon doubling the lowest note an octave 32

lower); the chord in bar 49 to bassoon, cello and bass. In the revised score these chords are assigned to nearly the same instruments so they would serve as punctuation and the added lower octave in bar 45 was eliminated, as it seemed to prematurely anticipate the prescribed drop of an octave in bar 49. The first two chords are assigned to the four horns, the one in bar 49 to two horns and tuba. (It is suspected that, in leaving out the next to the lowest note from the chord near the limit of the horn's range, the composer may even have intended such a combination). With these assignments the ritornello, a new section of the work, can begin on a new set of instruments: bassoon, cello and bass. Respecting this category of changes it can be said that, whereas both scores follow the com­ poser's writing, the process of revision provided an opportunity for exercising the judgment, personal preference, of those making the revision. Mention of all similar modifications is beyond the scope ofthis report.

III. CONCLUSION

It is necessary to stress that the departures from the score, as first realized by Tibor Serly, and their rationalization, should not be interpreted as adverse criticism of Mr. Serly's work. We remain grateful for his pioneering effort, having had the manuscript dumped in his lap, faced with the enormous difficulty of deciphering scribbles the composer meant to be read only by himself; trying to reason out, extrapolate what the composer regarded unnecessary to write down, what details he planned to change in the course of preparing the final orchestra score and what unplanned changes might have occurred to him at that time. The added bars, octaves, extra voices, most of them explained, are not errors, but carefully thought-out modifications-the composer himself could have made similar modifications later (as can be seen if other finished Bartok scores are compared with the corresponding first sketches). Some of Mr. Serly's additions-such as the skillfully designed nine bars inserted between bars 197 and 198 of the third movement-were deleted reluctantly, as they gave the soloist an opportunity to shine and slightly extend the short last movement; additions cannot be made here, however, as we cannot obtain the composer's approval. All the added parts had to be left out of this version not necessarily on the basis of a critical evaluation, but because their retention would have defeated the objective of this edition: to present to the public a score that follows as closely as possible what Bela Bartok had written.

Correlation of bar numbers

In the following table those bars are listed which have different numbers in the revised score (left column) and Tibor SerIy's score (right column):

First movement: 68 67 (second half) 69-72 68-71 [73<74]* 73 [142<143]* 143 143-182 144-183 [182< 183]* 184 183-220 185-222 [220<221]* 223

*These bars do not appear in the particular score. 33

221-227 224-230 228-238 231-241 239 241 (second half) 240-241 242-243 [-]* 244 242 [-]* [-]* 245-248

Second movement: [63<64] 64-65 64-83 66-85 84-99 [-]*

Third movement: 116 [115< 116]* 117-197 116-196 [197-198]* 197 [203<204]* 204-211 204-250 212-258 [250<251]* 259-262 251-255 263-267

Notes

1. Tibor Serly, "A Belated Account of the Reconstruction of a 20th-Century Masterpiece," College Music Symposium, 19 January 1974. 2. Observed in David Dalton's "Genesis and Synthesis of the Bartok Viola Concerto," doctoral thesis submitted at Indiana University, May 1970. 3. See Sandor Kovacs, "Formprobleme beim Violakonzert von Bartok-Serly," Studia Musicologica 24, 1982, p. 381 ff. 4. "Gin a Body Meet a Body, Comin' Thro' the Rye," reproduced with permission from "Seventy Scottish Songs," selected and arranged by Helen Hopekirk, © 1992 by Dover Publications, New York. 5. Halsey Stevens, in "The Life and Music of Bela Bartok" (Oxford University Press, 1964) did point out a bagpipe tune in the third movement. 6. See letter draft of 5 August 1945, quoted on the first page ofthis article. 7. Letter draft of 5 August 1945. 8. Letter of8 September 1945. 9. The 5 August letter draft was found years later in Budapest. 10. "Rumanian Folk Music," by Bela Bartok, edited by Benjamin Suchoff, Martinus Nijhoff, The Hague, 1967.

35

AN EVENING WITH MILTON

by Thomas Tatton

ilton Thomas has been a world-class Ralph Lewando, was a competent tutor who M violist for more than half a century. worked with many promising students in the As both colleague and friend to the musical Pittsburgh area during the Depression years. giants of our century-Casals, Piatigorsky, Milton attended Taylor Allerdice High Heifetz, Primrose, Stern, Schneider, Hess, School, which had a fine orchestra conducted Tortellier, Rosenthal, Baker, and Vardi, to by the uniquely gifted Laura Zeigler. There name a few-his professional activities em­ he had a chance to play some of the major brace a myriad of contrasting styles. He has orchestral repertoire. As concertmaster of performed the music of the Middle Ages the orchestra, Milton performed the Men­ through that of the twentieth century. Not­ delssohn Violin Concerto in his senior year. withstanding his frequent recitals, chamber After high school, Milton was awarded and solo recordings, prominent appearances, a violin scholarship at Juilliard and was and approachable personality, not much has assigned to the studio of an old-school violin­ been written about this remarkable man. The ist from Belgium, Edward Dethier. There was following are recollections and impressions of no actual viola department at Juilliard, but my visit with Milton on a chilly December first-year violin students were offered the evening, 1994, in his Los Angeles home. opportunity to play viola in the orchestra, Energetic, witty, alert, insightful, totally in and Milton volunteered. He was also asked to love with the magic of the viola and con­ play viola in a quartet, with Emanuel Vardi sumed with the emotions of music-this is on first violin. At that time Vardi was also Milton Thomas, an artist who plays Bach and exploring the possibilities on viola, and he the Romantics while also promoting modern once advised, "Believe me, Milt, you'll be music. Just one day before his 75th birthday, happier playing the viola." Vardi went on to in February 1995, he gave a recital at USC study with William Primrose and eventually which displayed his versatility. For this per­ ended up in the NBC Symphony with formance he programmed a new work by Toscanini. Steven Gerber entitled Elegy on the Name After two years of study, Milton left ofDimitri Shostakovitch, the Divertimento Juilliard and joined the newly created All­ by Ingolf Dahl, the Sixth Brandenburg American Youth Orchestra, led by Leopold Concerto, and a few of his own arrangements: Stokowski. For Milton, "Stoky" was the ori­ Suite Italianne by Igor Stravinsky, Three ginator of sensuous sound, constantly insist­ Italian Dances from the Renaissance, and ing on free bowing in order to achieve the three chorale preludes by Bach, arranged for effect. The stormy Stokowski was a powerful different combinations of instruments, influence on an entire generation, and the including the viola da gamba. unique freedom and imagery in his color­ Milton began his violin studies in elemen­ ful interpretations of Tchaikovsky, Bach, tary school when he was six, during the Great Brahms, Debussy, and other composers were Depression. During the course of his first a thrill for Milton. After the All-American string class, consisting of a few beginners Youth Orchestra, he joined the Cleveland trying to play in unison, the instructor recog­ Orchestra, an ensemble noted for its support nized Milton's natural talent and con­ of contemporary music, especially under the tacted his mother to emphasize the need for baton of Artur Rodzinski. Four years later, private lessons. Milton's first violin teacher, curiosity, ambition, and a desire to see family 36

members on the West Coast led him to join Inventions for Viola and Piano, by Henri the string section of the Tommy Dorsey Lazarof Dance Band. Cadence II for Viola and Tape, by Henri Lazarof The Casals Influence Redwood for Viola and Percussion, by Paul In 1949, Milton aspired to study with Chihara Pablo Casals, intrigued by the art and the leg­ end of this great cellist. For a violist to get Milton has recorded each of the above lessons with Casals took some doing, of works, in addition to much of the standard course. Milton traveled to Paris to play for repertoire, including an early recording of the Alexander (Sascha) Schneider, second violinist Britten Lachrymae. Interestingly, his very first in the Budapest Quartet, who was also friend recording did not involve the viola; it was the and confidant to Casals. Happily, through Hindemith Sonata for Viola d'amore and Sascha, Milton joined Casals in Prades, a Piano. During our conversation he reminisced small village in the south of France. First in about recording the Brahms B-flat Major Prades and later in Puerto Rico, inspired by Sextet with Stern, Schneider, Katims, Casals, the genius of Casals and surrounded by bril­ and Foley; and the Spohr Double Quartet liant artists, Milton grew in stature as princi­ with Heifetz and Piatigorsky et al. He also pal violist at the Festival Casals by playing appears on two works now issued as part chamber music and giving many concerts, of the "Heifetz Collection": the Brahms and by making recordings. String Quintet No.2 in G Major, op. 111 and Milton's eyes twinkled when we talked of Tchaikovsky's Souvenir de Florence. His collab­ Casals and of Bach. For Casals, the making oration with other chamber music artists is of music always had to be "natural"; and legendary. In Le Marteau sans Maitre by Pierre Milton, with the same great instinct, sang Boulez, the violist is required to play pizzicato phrases from the Bach suites for me as they in the highest possible position. During the would have been played by Casals. Milton recording of the work, Milton asked Boulez if discussed rolling chords in order to emphasize he could actually hear the notes, since they the bass line, rhythmic flexibility as a com­ weren't very resonant. Boulez replied, "If you mon Baroque practice, and his objections to didn't play it, I'd miss it." editions with an overabundance of slurs and dynamic markings. Since there is no existing Milton's "Implements" holograph of the Bach Suites, Milton uses the I asked Milton about his viola, a 1699 copy by Anna Magdalena. Milton was one of Matteo Goffriller. He beamed as he unpacked the first violists to record all six suites. his treasure. Made from beautiful, lustrous "But," I asked, "how did you become inter­ wood, the 16-inch instrument produces a full, ested in contemporary music?" "Partly," he golden tone. He also owns two historic bows: a said, "because I have always felt that an artist Dominique Peccatte and a Fran<;ois Tourte, should be curious and open to the emerging both beautiful implements. He played portions challenges ofour time, because the viola needs of the Brahms E-flat Sonata while discussing a new repertoire, and because new works broaden bowing that perfectly fits a particular phrase, one's interpretive concepts." Some works have and then he played some of Schumann's been written specifically for Milton: Miirchenbilder while explaining the musical line. He ended with the Schumann Piano Divertimento for Viola and Piano, by Ingolf Quintet, in which he admonishes the violist to Dahl go up in position at one point to create more VOlo for viola and two string ensembles, by color and tone, rather than over to the next Henri Lazarof string for ease and comfort. 37

The hour was growing late, and I wanted grand piano holds keyboard parts of the to learn about the diverse types of art in pieces currently under study. In contrast to his home. The north wall holds a charcoal antiques and memorabilia are the state-of­ depicting a young, introspective Beethoven; the-art recording equipment, a fax machine, the fireplace mantel supports a wire sculpture contemporary art, and CDs. A home with of Don Quixote; an antique desk is covered character and duality, creative, energetic, and with correspondence. Black-and-white photos interesting, a story-filled home-the home of record significant people in Milton's life: the Milton Thomas. Thanks, Milt, for sharing; viola section in Puerto Rico; his wonderful I truly enjoyed the evening. daughter, Yumi; Casals and other friends. A large old bookcase in an alcove is filled with - Thomas Tatton is the current president ofthe treasured music books, while the lovely baby American Viola Society.

Excellent Selection of Fine Old Instruments • Expert Repairs and Major Restoration Instrument Rentals • Strings and Accessories • Instruments and Bows on approval Extensive Library of String Music - Solo and Ensemble "Solos for Young Violinists" Tapes • "Suzuki" Tapes Same Day Service on Mail Orders 1..(800) 284..6546· (505) 265..7697· 3003 Monte Vista Blvd., NE· Albuquerque, NM 87106 The History of the Viola Volume I (with Supplement) Travel/Practice Violas, Revised 1993 (out of print since 1987) Violins, & Cellos and Volume II, 1991 compact instruments Both available NOW with quiet, pleasant tone Hard and Soft Cover $29.50 and $24.50 each; Ernest Nussbaum plus Shipping and Handling: 6009 Johnson Avenue USA $3.00; Canada $35.0; Bethesda, MD 20817 Foreign, USD $4.00; each

rrel 301/530-7316 fJ)r. Maurice em 1

I NEW ACQUISITIONS IN PIVA

Editor's Note: This continues the series ofinstallments that will update the holdings of the Primrose International Viola Archive. (PIVA is the official archive ofmusic for the viola ofboth the International and the American Viola societies.) Viola scores in PIVA up to 1985 are identified in Franz Zeyringer's Literatur flir Viola (Verlag Julius SchonwetterJun., Hartberg, Austria, 1985), where they are marked with a +. This present series ofinstallments will eventually make the listing current, after which a new acquisitions list will be published annually in JAVS. The entries are listed according to the Zeyringer classification ofinstrumentation. A future compilation under one cover of all the annual lists is plannedas a sequel to the Zeyringer lexicon.

1989 Acquisitions Viola - Solo (arr.) Bach, Johann Sebastian. 6 cello suites: for viola Viola - Solo solo; [edited by] Milton Katims. This edition rev. Bartos, Jan Zdenek. Fantazie pro solovou violu; October 1982. New York: International Music revize Libor Novacek. 1. vyd. Praha: Panton, Co., 1982, c1980. 1985. Bach, Johann Sebastian. 6 sonate e partite per Benary, Peter. Kleine Kammermusik: fUr Bratsche viola = 6 sonates et partites pour alto = 6 sonatas allein. WolfenbUttel: Moseler Verlag, c1972. and partitas for viola; [trascritte dall'originale per violino di] E. Polo. Milano: Ricordi, 1986. Burkhard, Willy. Sonate fur Solo-Bratsche, Op. 59. Kassel: Barenreiter, [194-?]. Bach, Johann Sebastian. Six suites for viola (origi­ nally for cello); transcribed by Watson Forbes. Geissler, Fritz. Sonate fUr Viola allein. Leipzig: London: Chester Music, c1951. F. Hofmeister, [1961?]. Bach, Johann Sebastian. Six suites for viola (origi­ Globokar, Vinko. Limites: fUr einen Geiger oder nally for cello); transcribed by Watson Forbes. Bratschisten. FrankfUrt; New York: H. Litolff's London: J. & W. Chester, c1951. Verlag, c1975. Bach, Johann Sebastian. Suiten (Sonaten) fUr Lutyens, Elisabeth. Sonata for solo viola, op. 5, Violoncello allein, fUr Viola Ubertragen; nach no. 4. London: Alfred Lengnick & Co. Ltd., fruhesten Quellen und der Ausgabe der c1946. Bachgesellschaft uberarbeitet von Fritz Spindler. Leipzig: F. Hofmeister, [1965?]. Lutyens, Elisabeth. Sonata for solo viola, op. 5, no. 4. London: Mills Music; Croyden: Sole selling Bach, Johann Sebastian. Sonaten fUr Viola (Viola agents, Belwin Mills, c1946. Alta, Altgeige): Suite 1-4; nach den Sonaten fUr Violoncello allein Ubertragen von Hermann Maconchy, Elizabeth. Five sketches: for viola. Ritter. Leipzig: Verlag von Friedrich Hofmeister, London: Chester Music, c1987. [193-?] .

Price, John E. Blues and circle dance: viola solo, Bach, Johann Sebastian. Suiten (Sonaten) fUr 1979. [Tuskegee, Alabama: Slave Shipress, Violoncello allein, fUr Viola Ubertragen; nach c1979]. fruhesten Quellen und der Ausgabe cler Bachgesellschaft uberarbeitet von Fritz Spindler. Stumpf, Karl. Vision: fUr Viola d'amore ohne Leipzig: F. Hofmeister, [1968?]. Begleitung. Wien: Krenn-Musikverlag, c1984/5. Campagnoli, Bartolomeo. Sieben Divertimenti, Vackar, Dalibor C. Dialogues: for viola solo; rev. Op. 18; flir die Viola libertragen und bearb. von prof. Ladislav Cerny. Praha: Cesky Hudebni Fritz Spindler. Leipzig: Friedrich Hofmeister Fond, 1968. Musikverlag, c1954. 40

Rovelli, Pietro. 12 capricci per violino, [Ope 3, 5]; Saunders, Max. Five fancies for violin and viola. trascritti per viola da Angelo Consolini = (12 London: Augener, c1955. caprices pour violon transcrits pour alto) = (12 caprices for the violin transcribed for the viola). Schickele, Peter. Little suite for autumn: for violin New York: G. Ricordi, c1922. and viola. Bryn Mawr, Pa.: Elkan-Vogel, c1981.

Flote und Viola Spohr, Louis. Duo ftir Violine und Viola, Ope 13. Tarp, Svend Erik. Duo for fl0jte og viola, Ope 37 Leipzig: C. F. Peters, [1953?]. (1939); [revision, Richard Dahl Eriksen]. [K0benhavn]: Samfundet til udgivelse af dansk Vycpalek, Ladislav. Duo pro housle a violu, Ope 20 musik, [198-?]. = Duo ftir Violine und Viola. Praha: Hudevni Matice Umelecke Besedy, 1929. BlockHote und Viola Werdin, Eberhard. Divertimento, Altblockflote Violine und Viola (arr.) (Flote) und Viola. Wien: Doblinger, c1986. Bach, Johann Sebastian. Vier Duette aus dem dritten Teil der «Clavier Obung" (BWV 802­ Violine und Viola 805); ftir Violine und Viola bearb. von Walther Amon, Johann Andreas. Zwei Duos ftir Violine Davisson. Leipzig: Breitkopf & Hartel, [1950?]. und Viola, Ope 2, Nr. 1-2; nach einem Friihdruck neu hrsg. von Rudolf Hacker. Mtinchen­ Mozart, Wolfgang Amadeus. Zwolf Duette ftir Grafelfing: Verlag Walter Wollenweber, c1986. zwei Bassethorner: Kochel-Verz, Nr. 487; ausg. ftir Violine und Viola. Leipzig: Breitkopf & Berten, Walter. Duo-Sonate ftir Geige und Hartel, c1913. Bratsche. Augsburg: Dr. B. Filser Verlag, [193-?]. Zwei Violen Bodenstein-Hoyme, Ruth. Ftinf Miniaturen ftir Stamitz, Karl. Drei Duette ftir zwei Violen = Trois Violine und Bratsche (Viola), [1963?]. duos pour deux altos = Three duets for two violas; hrsg. und ftir den praktischen Gebrauch bearb. Hoffmeister, Franz Anton. Drei Konzertante Duos von Walter Lebermann. Erstdruck. Mainz: ftir Violine und Viola = Three duos concertants for B. Schott's Sohne, c1955. violin and viola: Ope 6; hrsg. von Bernhard Pauler. Winterthur, Schweiz: Amadeus, 1986. Stamitz, Karl. Drei Duette ftir zwei Violen; hrsg. und flir den praktischen Gebrauch bearb. von Lidl, Andreas. Sechs Duos fur Violine und Viola, Ope Walter Lebermann. Erstdruck. Mainz: B. Schott's 3 = Six duos for violin and viola; hrsg. von Yvonne Sohne; New York: Schott Music Corp., c1955. Morgan. Winthur, Schweiz: Amadeus, 1987. Violoncello und Viola Maconchy, Elizabeth. Three easy pieces: for violin Beethoven, Ludwig van. Duet for viola and cello. and viola. London: Faber Music; New York: Melville, N.Y.: Belwin Mills, [197-?]. G. Schirmer, 1972. Beethoven, Ludwig van. Duett mit zwei obligaten Matys, JiH. Duo pro housle a violu = duo per vio­ Augenglasern flir Viola und Violoncello; [hrsg. lino e viola; Ope 39; rev. Rudolf Srubaf. Praha: von] Fritz Stein [und] Karl Haas. London; New Editio Suprophon, 1976. York: Edition Peters, c1971.

Mozart, Wolfgang Amadeus. Duo flir Violine und Beethoven, Ludwig van. Duett mit zwei obligaten Viola, K. 424 = Duet for violin and viola =Duo pour Augenglasern: Sonatensatz ftir Viola und Violon­ violon et alto; hrsg. von Wilhelm Rohm. Partitur. cello. [S.l.] : C. F. Peters, c1939. Wien: Osterreichischer Bundesverlag, c1949. Beethoven, Ludwig van. Duett mit zwei obligaten Mozart, Wolfgang Amadeus. Duos pour violon et Augenglasern flir Viola und Violoncello = duet alto; revus par A. Schulz. Braunschweig: Henry with two obbligato eyeglasses for viola and violon­ Litolff's Verlag, [195-?]. cello; hrsg. von Franz Beyer; vorwort von Willy Hess. Winterthur: Amadeus, 1986. Raphael, Gtinter. Duo (C) ftir Violine und Bratsche, Ope 47, Nr. 2. Heidelberg: Willy Beethoven, Ludwig van. Minuetto (second move­ Mtiller, Stiddeutscher Musikverlag, c1959. ment of the sonata): Duett mit zwei obligaten JOHN­ MOES & MOES BRASIL VIOLIN MAKERS

1993 45 LOBBY EXHIBITIONS INTERNATIONAL New Instruments ON 5 CONTINENTS made by Peter & Wendela Moes Sound Adjustments (by appointment)

Reference: New Address: Bischofberger Violins 64 Michael Road 1314 East John Stamford, CT 06903 Seattle, WA 98102 Phone (203) 461-9560 Tel: (206) 324-3119 FAX (203) 461-9562

THE VIOLA

DAVID DALTON studied at CLYN BARRUS is a graduate the Vienna Academy, the of the Curtis Institute, the Munich Hochschule, and Vienna Academy, and the took degrees at the Eastman University of Michigan, where School and Indiana University, where he earned his he earned his doctorate in viola. He was principal of the doctorate in viola under William Primrose. He collabo­ Vienna Symphony and for thirteen years occupied that rated with his teacher in producing the Primrose mem­ same position in the Minnesota Orchestra. He has been oirs Walk on the North Side and Playing the Viola. He heard frequently as a soloist and recording artist, and is served as president ofthe American Viola Society. now director oforchestras at BYU.

The Primrose International Viola Archive, the largest repository of materials related to the viola, is housed in the Harold B. Lee Library. BYU graduates find them­ selves in professional orchestras and as teachers at institutes ofhigher learning. B.M., B.A., and M.M. degrees in performance-pedagogy are offered to viola students.

For information, write: Walter Birkedahl "BYU is the Best Buy in U.S. higher education" Department ofMusic, C-550 HFAC - US. News & WOrld Report Brigham Young University Provo, UT 84602 25 September 1995 Tel (801) 378-3294 at BRIGHAM YOU NG UNIVERSITY Cfl-tOtto (~[L') GIFT SUBSCRIPTION ORDER FORM Order a gift membership at the rate of $30.00 for three AVS Journals and The Viola D YES, I want to give a year's membership in the AVS to the individuals named below. D In addition to gifts, D or in place ofgifts,

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We will send a card to you acknowledging your gift plus a letter to each recipient informing them of your thoughtfulness. Many thanks. Donna Lively Clark AVS Secretary 4820 Buttonwood Crescent Indianapolis, IN 46208 43

Augenglasern, fUr Viola und Violoncello; [hrsg. Akimenko, Fyodor Stepanovich. Romance pour vonJ Karl Haas. London; New York: Peters alto avec accompagnement de piano, op. 13. Edition, c1952. Leipzig: M. P. Belareff, 1902.

Castelnuovo-Tedesco, Mario. Sonata in C Minor Ashton, Algernon. Sonate A-Moll fUr Pianoforte for viola and violoncello, op. 144. Los Angeles: und Viola, Op. 44. Berlin: N. Simrock, 1891. Affiliated Musicians, c1953. Boeck, Auguste de. Deux esquisses. Bruxelles: J emnitz, Sandor. Duosonate fUr Viola und Schott Freres, [193-?J. Violoncello. Mainz: B. Schott's Sohne, c1927. Borris, Siegfried. Kleine Suite: fUr Bratsche und Schroder, Hanning. Variationen Uber das Klavier. Berlin: Sirius-Verlag, c1966. Volkslied "Ach bittrer Winter" fUr Viola und Violoncello. Berlin-Lichterfelde: Robert Lienau, Bowen, York. Sonata I C-Moll fUr Viola und c1954. Klavier. London: Edition Schott, 1972.

Wolf-Ferrari, Ermanno. Duo G-Moll: Serenata: Creston, Paul. Homage: for viola or violoncello fur Viola d'amore und Viola da gamba, Op. 33; and piano, op. 41. Delaware Water Gap, Pa.: hrsg. von Arnt Martin und Alfred Lessing. Shawnee Press, [c 1950J. Partitur. MUnchen: F.E.C. Leuckart, c1986. Creston, Paul. Suite, viola and piano. New York: Gitarre und Viola Pro-Arte Publications, c1938. Meijering, Chiel. Nini: voor altviool en gitaar: 1986. Amsterdam: Donemus, c1986. Delden, Lex van. Suite voor altviool en piano. Amsterdam: Donemus, c1949. Cembalo und Viola Bach, Johann Sebastian. Drei Sonaten fUr Viola Genzmer, Harald. Zweite sonate fur Bratsche und da gamba (Viola) und Cembalo = Three sonatas Klavier (1955). Kassel: Barenreiter, 1958. for viola da gamba (viola) and harpsichord: BWV 1027-1029; hrsg. von Hans Eppstein. Urtext der Glazunov, Aleksandr Konstantinovich. Elegie for Neuen Bach-ausg. = Urtext of the New Bach ed. viola and piano, op. 44. Urtext ed. New York: Kassel; New York: Barenreiter, 1987. Belwin Mills, [196-?J.

Marais, Marin. Menuette aus Pieces de viole, Gow, David. Nocturne and capriccio, op. 31: for Band III: fUr verschiedene Instrumente; hrsg. von viola and piano; the viola part edited by Watson Erwin Kestner. Leipzig: Friedrich Hofmeister, Forbes. London: Augener, 1957. [1959J. Gruodis, Juozas. Dvi pjeses altui su fortepijonu; Orgel und Viola St. Simkus. Vilnius: Vaga, 1966. Siegl, Otto. Weihnachts-Sonate: fur Bratsche und Orgel, Op. 137. Wien: Doblinger, 1959. Hanesyan, Harutyun. Elegie per viola (ou violoncello e pianoforte). [Paris: Edition Max Eschig, 193-?]. TUrcke, Carl. Thema mit Veranderungen fUr Viola alta und Orgel (oder Pianoforte), Op. 9. Hanesyan, Harutyun. Nocturne per viola (ou violon­ Leipzig: C. F. Kahnt, [191-?J. cello e pianoforte). [Paris: Edition Max Eschig, 193-?J.

Orgel und Viola (arr.) Hanesyan, Harutyun. Pastorale et rondo pour alto Bach, Johann Sebastian. Choral uber "0 Mensch et piano. Paris: Editions Max Eschig, c1960. Bewein' dein' SUnde gross": fUr Violine oder Viola und Orgel; Ubertragen von Marco Enrico Bassi. Hauser, Michele. Quattro romanze senza parole: Stuttgart: Edition Euterpe, c1929. per viola con accompagnamento di pianoforte; trascritte da Enrico Polo. Milano; New York: Klavier und Viola G. Ricordi, 1927. Akimenko, Fyodor Stepanovich. Eclogue: pour cor anglais (ou alto ou violon) avec accompagne­ Heilmann, Harald. Sonata serena: flir Klarinette ment de piano, op. 12. Pour alto ou violon. in B oder Viola und Klavier. Heidelberg: Willy Leipzig: M. P. Belaieff, 1901. MUller, c1987. &~ein STRINGED INSTRUMENTS fJv{ak!-rs/ 9{estorers and 'lJea[ers of o/iouns/ o/ioUzs/ Ce[[os and f}3ows

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Hovhaness, Alan. Campuan sonata: for viola and Kriukov, V. (Vladimir Nikolaevich). Sonata dlia piano, Ope 371. [S.l.J: Published by Lim Chong al'ta i fortep'iano, [Ope 15J = Sonata for viola and Keat in conjunction with A. Hovhaness, c1983. piano. Novaia red. = New ed. 1958. Moskva: Gos. muzykal'noe izd-vo, 1959. Hoyer, Karl. Sonate ftir Viola und Klavier, Ope 30. Berlin: N. Simrock; New York: T. B. Harms Co., Langer, Hans-Klaus. Thema mit Variationen ftir c1923. Viola und Klavier. Berlin: Astoria Verlag, c1958.

Israel-Meyer, Pierre. Sept inventioI,ls: pour alto et Lhotka, Fran. Sljepacka; za violu i klavir; obradio: piano. [S.l.J: A. Alain Gelfmann, 1964. L. Miranov. Zagreb: Muzicka Naklada, [1960J.

Istvan, Miloslav. Ronda pro violu a klavir; Liashenko, Hennadl Ivanovych. Preliudiia, arieta 1, revidoval Prof. Antonifn Hyksa. Praha: Statni tanets': dlia al'ta z fortepiano. Kyiv: Muzychna N akladatelstvi Krasne Literatury, Hudby a Ukraina, 1971. Umeni, 1960. London, Edwin. Sonatina for viola and piano Joachim, Joseph. Hebraische Melodien: nach (1962). Northampton, Mass.: New Valley Music Eindrticken der Byronschen Gesange: ftir Viola Press, c1965. und Pianoforte, Ope 9. Leipzig: Breitkopf & Hartel, c1913. Marcello, Benedetto. 2 sonatas, in C major and in G major, for viola and piano; [viola part edited by Kauffmann, Leo Justinus. Kleine Suite: ftir JosephJ Vieland. New York: International Music Bratsche und Klavier. Mainz: B. Schott's Sohne; Co., c1966. New York: Associated Music Publishers, c1939. Meyer-Olbersleben, Max. Sonate ftir Klavier und Kiel, Friedrich. Sonate, ftir Pianoforte und Viola Viola (alta), Ope 14. Leipzig: Fritz schuberth, (oder ftir Pianoforte mit Violoncello oder [1883?J. Violine), Ope 67. Ausgabe ftir Pianoforte und Viola. Berlin: Ed. Bote & G. Bock, [190-?J. Onslow, Georges. Sonate ftir Viola und Klavier, Ope 16, Nr. 3; rev.; Walter Hockner. Hamburg: Klaas, Julius. Sechs Tondichtungen: ftir Viola und N. Simrock, c1963. Klavier, Ope 14 = Six poems: for viola and piano = Six poemes: pour alto et piano. Magdeburg: Orr, Robin. Sonata for viola and piano; viola part Heinrichshofen's Verlag, c1940. edited by Watson Forbes. London: Oxford University Press, c1949. Klaas, Julius. Sonate Ope 40: ftir Viola und Klavier. Wilhelmshaven: Heinrichshofen's Verlag, Passani, Emile. Sizain: six morceaux faciles 1965. pour violon ou alto et piano. Nice: Georges Delrieu, [cI963J. Knigge, Wilhelm baron. Deux morceaux de salon: pour alto et piano our accompagnement de Perilhou, A. Scenes agrestes. Paris: Heugel, c1923. deux violon, violoncello et contrebass, Ope 86. Potschappel: Bellman & Thurner, [192-?J Peron, Paul. Elegie: alto et piano, [op. 7J. Paris: E. Gallet, [192-?J. Kohler, Moritz. Elegie: pour viola avec accompagne­ ment de piano, Ope 31. Moscou: P. Jurgenson, Pogge, Hans. Sonate F-Dur ftir Klarinette (oder [192-?J. Bratsche) und Pianoforte, Ope 14. Ausg. fur Bratsche und Pianoforte. Leipzig: Ernst Eulenburg, [193-?J. Koringer, Franz. Sonata profana 7: Viola und Klavier. Wien: Doblinger, c1987. Popatenko, T. (Tamara Aleksandrovna). Roman­ ticheskaia sonata: dlia al'ta i fortepiano. Sonata: Kornauth, Egon. Sonate Cis-Moll ftir Viola (oder dlia al'ta i fortepiano. I. Khelfets. Moskva: Klarinette) und Klavier, Ope 3. Wien: Ludwig Sovetskil kompozitor, 1986. Doblinger, 1913. Reger, Max. Sonate B-Dur ftir Klarinette Kreuz, Emil. Sketch, Ope 13e, no. 3. London: (Bratsche) oder Violine und Klavier, Ope 107. Augener, [191-?J. Berlin: Ed. Bote & G. Bock, c1937. ARTIST QUALITY * HANDMADE VIOLINS + VIOLAS + CELLOS

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Reuss, Heinrich, Prinz. Sonate fUr Pianoforte und Sladek, Paul. Fantasy for viola and piano. Pitts­ Viola, Ope 22. Wien: C. Schimidl, [190-?]. burgh, Pa.: Volkwein Bros., 1968.

Richardson, Alan. Autumn sketches: for viola and Slonimskii, Sergei Mikhallovich. Suite for viola piano; viola part edited by Watson Forbes. and piano. Melville, N.Y.: Belwin Mills London: Oxford University Press, 1949. Publishing Corp., [196-?].

Richardson, Alan. Sussex lullaby; viola part edited Slonimskii, Sergei Mikhallovich. Suite fUr Viola by Watson Forbes. London: Oxford University und Klavier. Frankfurt: Edition Peters, [1971?]. Press, c1938. Smith, Leland C. Sonata for heckelphon (or viola) Rougnon, Paul. Fantaisie-caprice: pour alto avec and piano. [New York: American Composers accompagnement de piano. Paris: Alphonse Alliance?], 1954. Leduc, 1946,cI922. Stallcop, Glenn. Sonata for viola and piano. New Rougnon, Paul. 4e fantaisie de concert pour alto York: American Composers Alliance, 1982. (ou violon) et piano. Paris: Costallat, 1931. Theron, J. Deux pieces pour alto (ou violoncelle) Schumann, Robert. Marchenbilder = Pictures et piano. Paris: J. Hamelle, [190-?]. from fairyland: four pieces for viola (or violin) and piano; Ope 113; edited and fingered by Vallentin, Artur. Sonate fUr Viola (oder Klari­ Henry Schradieck. New York: G. Schirmer, nette) und Klavier, Ope 37. Duisburg: 1m Musik­ c1926. selbstverlag Artur Vallentin, [193-?].

Schumann, Robert. Fairy tales, Ope 113: for viola Van de Vate, Nancy. Sonata for viola and piano. and piano; [edited by] (L. Davis). New York: New York: American Composers Alliance, c1966. International Music Co., c1980. Vanhal, Johann Baptist. Sonate Es-Dur fUr Viola Shebalin, Vissarion IAkovlevich. Sonata dlia at'ta i und Klavier; [hrsg. von] A. Weinmann. Erstdruck. fortepiano. Moskva: Gos. muzykal'noe izd-vo, Wien: Doblinger, c1973. 1956. Vasilenko, Sergei Nikiforovich. Sonata dlia al'ta Shirinskii, Vasilii Petrovich. Sonata = Sonate, (ili skripki) i fortepiano, soch. 46. Moskva: Gos. Ope 4. Moskva: [s.n., 193-?]. muzykal'noe izd-vo, 1955.

Shukallo, Liudmila Fedorovna. Rapsodiia dlia Vieuxtemps, Henri. Sonate pour piano et alto ou al'ta i fortepiano. Kyiv: Muzychna Ukraina, 1981. violoncelle, Ope 36. Leipzig; New York: J. Schuberth & Co., [189-?]. Siegl, Otto. Sonate fUr Viola und Klavier, Ope 41. Wien: Doblinger, 1925. Vieuxtemps, Henri. Unvollendete Sonate: fUr Viola und Klavier = Unfinished sonata for viola Siegl, Otto. Zweite Sonate (Es-Dur) fUr Bratsche and piano, Ope post.; nach dem Erstdruck hrsg. und Klavier, Ope 103. Wien: Ludwig Doblinger von Bernhard Pauler. Winterthur, Schweiz: (Bernhard Herzmansky), c1939. Amadeus, c1986.

Sitt, Hans. Trois Morceaux: pour alto avec accom­ Vivaldi, Antonio. Sonata in A Major, for violin pagnement de piano, Ope 75, no. 1-3. Leipzig: (or viola) and piano; [edited by] F. David. New Bosworth, c1901. York: International Music Co., 1944.

Sivic, Pavel. N arodona: za violo in klavir = 1m Wieniawski, Henri. Reverie: pour alto et piano = Volkston fUr Viola und Klavier. Ljubljana: Edicije na alt6wk~ i fortepiano = for viola and piano = fUr Drustva Slovenskih Sjkadatekhev, 1975. Viola und Klavier. Krak6w: Polskie Wydawnictwo Muzyczne, c1973. Skold, Yngve. Legend, Ope 9. [S.l.: s.n., 192-?]. Klavier und Viola (arr.) Sladek, Paul. Elegy: from an old sketch book. Alte Meister fUr junge Spieler: leichte klassische Pittsburgh, Pa.: Volkwein Bros. 1947. StUcke: Viola und Piano = Vieux maitres pour la 48

jeunesse: pieces classiques faciles = Old masters for J. Vieland]. New York: International Music Co., young players: easy classical pieces; nach den c1951. Originalen Moffats hrsg. von Johannes Palaschko. Mainz; New York: Schott, c1930. Handel, George Frideric. Sonata in D; edited by William Lincer; transcribed by Station. New Bach, Johann Sebastian. Sitsiliana; [perelozhenie York: Viola World Publications, c1980. G. Bezrukova]. Rondo, F. Franker; [perelozhenie D. Lepilova]. Moskva: Gosudarstvennoe Hindemith, Paul. Kamernaia muzyka no. 5: Muzykal'noe Izd-vo, 1957. Kontsert dlia al'ta i kamernogo orkestra; [perelozhenie dlia al'ta i forte piano f. Vil'msa; Beethoven, Ludwig van. Romanzen fur Violine und redaktsiia partii ai'ta A. Liudeviga]. Klavir. Orchester, Op. 40 und 50, ftir Viola und Piano­ Leningrad: Muzyka Leningradskoe Otdelenie, forte; arrangiert von Friedr. Hermann. Kriegs­ 1976. ausgabe. Leipzig: C. F. Peters, [191-?]. Hindemith, Paul. Kontsertnaia muzyka dlia al'ta Benda, Georg. Konzert F-Dur ftir Viola und i kamernogo orkestra, perelozhenie dlia al'ta i Streicher mit Cembalo: zwei Horner in F ad lib.; fortepiano; [perelozhenie F. ViI'msa; redaktsiia Erstmals hrsg. und mit Kadenzen versehen von partii aI'ta E. Strakhova]. Moskva: Izd-vo Muzyka, Walter Lebermann; Klavierauszug von Walter 1976. Lebermann; Klavierauszug von Helmut May. Klavierauszug. Mainz: B. Schott's Sohne; New Hoffmeister, Franz Anton. Concerto in D Major York: Schott Music Corp., c1968. for viola and piano; [newly rev. and provided with cadenzas by] (Paul Doktor). New York: Benda, Georg. Konzert F-Dur ftir Viola und International Music, c1981. Streicher mit Cembalo: zwei Horner in F ad lib.; Erstmals hrsg. und mit Kadenzen versehen von Hoffmeister, Franz Anton. Konzert D-Dur ftir Walter Lebermann; Klavierauszug von Helmut Viola und Orchester; hrsg. von Clemens Richter; May. Mainz; New York: Schott, c1968. einrichtung des Klavierauszugs Gerhard Rolf Bauer; Bezeichnung der Solostimme Clemens Brahms, Johannes. Sonatensatz = sonata move­ Richter. Ausg. ftir Viola und Klavier. Leipzig/ ment: scherzo, op. post.: for violin (or viola) and Dresden: Edition Peters; New York: C. F. Peters, piano; [viola part transcribed by Milton Katims]. c1985. New York: International Music Co., 1948. Hoffstetter, Roman. Concerto in Es ftir Bratsche Corelli, Arcangelo. Sonata in D Minor, op. 5, no. und Kleines Orchester = for viola and small 8, for viola and piano; [transcribed by Milton] orchestra; hrsg. von Adam Gottron. Klavierauszug Katims. New York: International Music Co., = Piano-score. Heidelberg: Willy M tiller/ 1944. Stiddeutscher Musikverlag, c1968.

Dvorak, Antonin. Dva valciky, op. 54, c. 1 a 4: Kolle, Conrad. Konzert ftir Bratsche und Kam­ viola a klavir; arr. Jar. Kocian; [rev. Karel merorchester, Op. 38. Klavierauszug. Leipzig: Carl Moravec]. Praha: Statni N akladatelstvi Krasne Merseburger; New York: Carl Fischer, c1930. Literatury, Hudbya Umenf, c1956. Leclair, Jean Marie. Sonate 3 D-Dur; bearb. und Fortner, Wolfgang. Concertino ftir Bratsche und tibertragen ftir Viola (Alto) und Piano von Alard­ kleineres Orchester; Klavierauszug vom Komponi­ Dessauer. Mainz: B. Schott's Sohne, [196-?]. sten. Klavierauszug. Mainz: B. Schott's Sohne; New York: Associated Music Publishers, 1934. Marais, Marin. Five old French dances: for viola (or violin or violoncello) with pianoforte accom­ Graun, Johann Gottlieb. Konzert Es-Dur ftir paniment = Cinq danses fran~aises anciennes: Viola und Streicher = Concerto in E-flat Major pour alto (ou violon ou violoncello) avec piano; for viola and strings; [hrsg. und bearb. von] arr. by Maud E. Aldis and Louis T. Rowe; the Walter Lebermann. Ausg. Klavierauszug. violoncello part by May Mukle. London: Chester Hamburg: N. Simrock, c1976. Music, [196-?].

Handel, George Frideric. Sonata in C Major for Marcello, Benedetto. 2 sonatas, in C major and in viola and piano; [edited by] G. Jensen; [revised by G major, for viola and piano; [viola part edited by Donna Lively Clark Professor of Viola

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Joseph] Vieland. New York: International Music orchestral score by A.] Gretchaninoff; [edited by Co., c1966. Milton] Katims. New York: International Music Co., c1948. Mozart, Wolfgang Amadeus. Adagio du concerto, Ope 107; transcription pour viole d'amour avec Trede, Yngve Jan. Concerto for viola and orches­ accompagnement de piano par Leopold Herre­ tra. Piano reduction. Copenhagen: Edition W. mans. Liege: Veuve Leopold Muraille, [192-?]. Hansen; New York: Edition W. Hansen/Chester Music; [S.l.]: Distribution, Magnamusic-Baton, Mussorgsky, Modest Petrovich. Hopak; tran­ c1986. scribed for viola and piano by V. Borissovsky. New York: International Music Co., 1944. Valentini, Giuseppe. X sonate E-Dur: na alt'owke i fortepian (klawesyn); transkrypcja Jana Pannain, Guido. Concerto per viola e orchestra; Rakowskiego (wg opracowania A. Piattiego na riduzione per viola e pianoforte. Milano: Edizioni wiolonczel~ i fortepian). Kadencja Zdzisatwa Curci, c1958. Jahnkego. [Krakow]: Polskie Wydawnictwo Muzyczne, [1962]. Partos, Oedoen. Yiskor: (In memoriam): viola (or violin or violoncello) and piano. Tel-Aviv: Israeli Valentini, Giuseppe. X sonate E-Dur: na alt'owke Music Publications; New York: Hargail Music i fortepian (klawesyn); transkrypcja J ana Press, c1949. Rakowskiego (wg opracowania A. Piattiego na wiolonczel~ i fortepian). Kadencja Zdzistawa Rachmaninoff, Servgi. Sonata dlia violoncheli (ili Jahnkego. [Krakow]: Polskie Wydawnictwo arta) i fortepiano; perelozhenie V. Borisovskogo. Muzyczne, [1969]. Moskva: Izdaterstvo "Muzyka," 1973. Viola & piano: a collection of 43 famous compo­ Serly, Tibor. Rhapsody on folk songs harmonized sitions arranged for viola with piano accompani­ by Bela Bartok: for viola and orchestra; [edited by ment; with stories and illustrated biographical William Primrose]. Viola piano reduction. [New sketches; [arr.] by Herfurth-deVeritch. Cincin­ York]: Southern Music Pub. Co., c1950. nati, Ohio: Willis Music Company, 1960.

Schubert, Franz. Three sonatinas, Ope 137; arr. for Vivaldi, Antonio. Concerto no. 19 en la-majeur: viola & piano by Watson Forbes. London: pour alto et orchestre acordes et cembalo; recon­ Augener, c1957. stitution par Fernand Oubradous. Paris: Editions Musicales Transatlantiques, c1961. Stamitz, Anton. Concerto pour viola principale: avec accompagnement de violons primo et secondo, Vivaldi, Antonio. Kontsert dlia violy d'amur s altos and basses; Cadence et reduction pour piano orkestrom; svobodnaia obrabotka dlia al'ta i Marinus de Jong. Antwerpen: Uitgave Metropolis, fortepiano V. Borisovskogo. Moskva: Gos. 1970. muzykal'noe izd-vo, 1955.

Stamitz, Karl. Konzert D-Dur fUr Viola und Weber, Carl Maria von. Andante und Rondo Orchester, Ope 1; ausg. fUr Viola und Klavier von Ungarese: fur Viola und Orchester; erstmals hrsg. Paul Klengel. Wiesbaden: Breitkopf & Hartel, von Georg SchUnemann. Klavierauszug. Mainz: c1960. B. Schott's Sohne; New York: Schott Music Corp., c1938. Stamitz, Anton. Konzert No. 2 F-Dur fUr Viola und Streichorchester; hrsg. und mit Kadenzen Weber, Carl Maria von. Andante und Rondo versehen von Walter Lebermann; Klavierauszug Ungarese: fUr Viola und Orchester = Andante e Helmut May. Mainz: Schott's Sohne; New York: rondo ungarese for viola and orchestra = Andante Schott Music Corp., c1970. et rondo pour alto et orchestre; erstmals hrsg. von Georg SchUnemann. Klavierauszug. Mainz; New Tartini, Giuseppe. Adagio and fugue; arr. by York: B. Schott's Sohne, c1938. Peggy Radmall. London: J. W. Chester Ltd., c1955. Zwei Violinen und Viola Davaux, Jean-Baptiste. Six trios concertants: Telemann, Georg Philipp. Concerto in G Major pour deux violons et alto, Ope 15. Paris: Janet et for viola and piano; [piano reduction of the Cotelle, [1792?]. KENNETH STEIN VIOLINS Expert Repairs &' Restorations Large selection offine Violins, Violas, Cellos and Bows

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For further information, please write or call School of Music University of Southern California Los Angeles, California 90089-0851 Outside California: (800) 872-2213 Inside California: (213) 740-8986 53

I-Iilbler, Klaus-K. Musica mensurabilis: ftir zwei Koerppen, Alfred. Serenade F ftir Flote, Violine Violinen und Viola = for two violins and viola. und Bratsche. Wiesbaden: Breitkopf & Hartel, Spielpartitur = performance score. Wiesbaden: c1953. Breitkopf & Hartel, 1985, c1983. Reger, Max. Serenade G-Dur [fur Flote, Violine Maconchy, Elizabeth. Four easy trios: for two vio­ und Bratsche], Ope 141a. Leipzig: C. F. Peters, lins and viola or violin and two violas. London: c1915. Faber Music; New York: G. Schirmer, 1972. Flote, Viola und Violoncello Rolla, Alessandro. Trio C-Dur ftir zwei Violinen Ahlberg, Gunnar. A trois. Stockholm: Svensk und Viola. Mtinchen-Grafelfing: Verlag W. Music, [1985?]. Wollenweber, c1983. Fiorillo, Federigo. Trio ftir Flote, Violine und Tach, Ernst. Serenade (In Spitzwegs Art): flir zwei Viola, Ope 29, Nr. 1 = for flute, violin & viola; Violinen und Viola, Ope 25. Mtinchen: Tischer & [rev.] Rolf-Julius Koch. Hamburg: N. Simrock, Jagenberg, [1984?]. c1965.

Violine, Viola und Violoncello Flote, Viola und Harfe Mozart, Wolfgang Amadeus. Streichtrio Es-Dur: Bax, Arnold. Elegiac trio: for fl ute, viola, and (divertimento di sei pezzi): flir Violine, Viola und harp. London: J. & W. Chester, c1920. Violoncello; neu hrsg. von Erich and Elma Doflein. Kassel: Barenreiter-Verlag, c1951. Beethoven, Ludwig van. Duett mit zwei obligaten Augenglasern: sonatensatz flir Viola und Schubert, Franz. Erstes Trio B-Dur flir Violine, Violoncello. [S.l.]: C. F. Peters, c1939. Viola und Violoncello. Wiesbaden: Breitkopf & Hartel, [197-?]. Oboe, Viola und Klavier Telemann, Georg Philipp. Triosonate C-MoIl ftir Schubert, Franz. Trio B-Dur ftir Violine, Viola Oboe, Viola und Basso continuo = Trio Sonata in und Cello; revidiert von Fr. Rehfeld. Heilbronn: C Minor for oboe, viola and continuo; hrsg. und C. F. Schmidt, [194-?]. bearb. von Helmut Winschermann. 1st ed. Partitur. Hamburg: H. Sikorski, c1963. Violine, Viola und Klavier Lachner, Ignaz. Trio flir Violine, Viola und Klarinette, Viola und Klavier Klavier, Ope 45. Mtinchen-Grafelfing: Verlag Braunfels, Michael. Zwolf Variationen, Ope 27, Walter Wollenweber, 1980. liber ein franzosisches Kinderlied: ftir Klarinette, Viola und Klavier = Twelve variations, Ope 27, Lindblad, Adolf Fredrik. Trio ftir Violine, Viola upon a French children [sic] song: for clarinet, und Klavier, Ope 10. Mtinchen-Grafelfing: viola and piano. Partitur. Bad Schwalbach: W. Wollenweber, 1981. Edition Gravis, c1984.

Violoncello, Viola und Contrabass Schunlann, Robert. Fairy tales: for clarinet (or Heyn, Volker. Laxus: flir Viola, Violoncello und violin), viola, and piano, Ope 132. New York: Kontrabass = for viola, violoncello and double International Music Co. [195-?]. bass. Spielpartitur. Wiesbaden: Breitkopf & Hartel, c1985. Trios mit verschiedener Besetsung Meijering, Chiel. Handgeld: for oboe, guitar, and Kirsten, Michael. Partie a tre: flir Viola, Violon­ viola, 1987. Amsterdam: Donemus, c1987. cello und Kontrabass; nach dem Manuskript erst­ nlals hrsg. von Wolfgang Sawodny. Erstdruck. Viola - Solo mit Orchester Mtinchen-Grafelfing: Verlag Walter Wollen­ Kadosa, Pil. Concertino per viola e orchestra: weber, c1985. Ope 27. Partitura. Budapest: Editio Music, c1967.

Flote, Violine und Viola Kirchner, Volker David. Nachtsttick: Variationen Fiorillo, Federigo. Trio fur Flote, Violine und Viola, liber eine Wagnersche Akkordverbindung flir Ope 29, Nr. 1 = for flute, violin, and viol; [rev.] Viola und kleines Orchester (1980/81). Partitur. Rolf-Julius Koch. Hamburg: N. Simrock, c1965. Mainz; New York: Schott, c1983. ··· ma/(gr of fine string instruments

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Nordgren, Pehr Henrik. Concerto no. 2 for viola Etiiden, Capricen, Studien, Obungen and orchestra, op. 48 (1979). Helsinki, Finland: Campagnoli, Barolomeo. 41 capricci per viola, Suomalaisen Musiikin Tiedotuskeskus, 1979. op. 22 = 41 caprices pour alto = 41 Capricen ftir Viola = 41 caprices for viola = 41 caprichos para Seiber, Matyas. Elegie: ftir Viola und kleines viola; (Angelo Consolini). Milano; New York: Orchester. Studien-Partitur. Mainz: B. Schott's Ricordi, 1954. Sahne; New York: Schott Music, [c1958]. Dont, Jacob. 24 Vortibungen zu R. Kreutzers und Stamitz, Anton. Konzert Nr. 3 G-Dur ftir Viola P. Rodes Violin-Ettiden, Op. 37; ftir die Viola und Orchester; hrsg. und mit Kadenz versehen tibertragen und bearb. von Fritz Spindler. Leipzig: von Walter Lebermann. Wiesbaden: Breitkopf & F. Hofmeister, c1953. Hartel, c1971. Drozen, J. Lidova a prakticka skola na violu: se Telemann, Georg Philipp. Konzert G-Dur ftir zretelem pro samouky. Brno-Bratislava: Jar. Viola und Streichorchester mit Basso Continuo; Stozicky, [196-?]. hrsg. von Hellmuth Christian Wolff. Kassel: Barenreiter, 1953. Herold, JiIi [Etudes, viola solo]. Praha: Hudebni Matice, c1937. Viola - Solo mit sechs instrumenten Ockenfels, Helmut. Rhapsodische Variationen: ftir Isaac, Merle J. (Merle John). Melody book for Viola (oder Klarinette), Hinf Gitarren und Cello strings: eleven pieces for young string players. (oder Bassgitarre). Kaln: Pycrus Edition, [1982?]. Boston: Carl Fischer, 1954.

Zwei Violen - Solo, mit Klavier (arr.) Kayser. 36 elementary and progressive etudes for Telemann, Georg Philipp. Konzert G-Dur ftir the viola, op. 20; transcribed by Adam Lesinsky. zwei Violen, Streicher und Basso continuo; hrsg. New York: Carl Fischer, c1955. von Walter Lebermann; Klavierauszug vom Herausgeber. Klavierauszug. Mainz; New York: Kayser, [H. E.]. 36 etudes instructives et progres­ Schott, c1970. sives pour l'alto, op. 43 = 36 Etuden fUr Bratsche. Hamburg: Aug. Cranz, [191-?]. Verschiedene Besetzungen (arr.) Bach, Johann Sebastian. Brandenburgisches Kreutzer, Rodolphe. 42 EtUden oder Capricen: Konzert Nr. 6; Coninuo-Aussetzung von Ludwig ftir Violine; ftir Viola tibertragen von Fritz Landshoff. New York: C. F. Peters, [195-?]. Spindler. Leipzig: VEB Friedrich Hofmeister Musikverlag, c1953. Schulen und Methoden Bruni, Antonio Bartolomeo. Viola-Schule = Orchesterstudien fUr Viola: eine Sammlung Methode pour l'alto. Neu-ausg. Mainz: B. schwieriger Stellen aus T onwerken fUr Kirche, Schott's Sahne; New York: Associated Music Theater und Konzertsaal; mit Fingersatz-und Publishers, [195-?]. Bogenstrichbezeichnungen von Friedrich Her­ mann. Neue revidierte und erganzte Ausgabe. von Herfurth, C. Paul (Clarence Paul). A tune a day: B. Unkenstein. Leipzig; New York: Breitkopf & for viola: a first book for viola instruction in Hartel, c1913. group, public school classes or individual lessons. Boston: Boston Music Company, c1967. Ritter, Hermann. Elementartechnik der Viola alta = Elementary technique for the viola alto. Leipzig: Ritter, Hermann. Viola-Schule: Das Studium der F. Kistner, [191-?]. Viola alto oder Altgeige. Leipzig: Carl Ruhle's, Musikverlag, [190-?]. Strauss, Richard. Orchesterstudien aus Richard Strauss's Buhnenwerken: Bratsche; ausgewahlt und Schloming, Harry. Das Studium der Viola: bezeichnet von August Gentz. London: Adolph Praktischer Lehrgang ftir die Viola in Zwei Teilen, Ftirstner, c1912. Op. 20 = The study of the viola: practical method for the viola in two parts. Hamburg: Anton J. Whistler, Harvey S. (Harvey Samuel). Introducing Benjamin, c1921. the positions for viola. Chicago: Rubank, 1953. 56

Wohlfahrt, Franz. Wohlfahrt foundation studies Inquiries about loaning procedures from PIVA for the viola: a compilation of the most practical should be addressed to studies; transcribed and arranged in progressive order by Merle J. Isaac and Ralph C. Lewis. New David Day, Music Librarian PIVA York: C. Fischer, [c1938]. HBLL5222 Brigham Young University This concludes the 1989 PIVA acquisitions. The Provo, UT 84602 1990 acquisitions will begin next issue. Tel (801) 378-6119;fax 378-6708 e-mail: david_day@byu. edu

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Note is taken ofa newly formed ensemble, the Debussy Trio, composed ofKeith Greene, viola; Marcia Dickstein, harp; and Angela Wiegand, flute. The trio has appeared at the Kennedy Center in Washington, D.C., and has premiered works written for them. The California-based ensemble is one of the few chamber groups in the country with the viola as a lone string mem­ ber. Those interested in their repertoire should contact Mr. Greene at 4209 Jackson Avenue, Culver City, CA 90232 (310) 838-9628.

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Michael Mondavi has said, "Great wine without great food is experiencing only half the pleasure." Mter examining the music closely, we say, "Great viola playing accompanied by great wine may result in total disaster for Telemann!" Courtesy of The New Yorker, 23 October 1995, and submitted by Veronica Jacobs, New York.

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ABOUT VIOLISTS

Lillian Fuchs One Great Life

No really great song can ever attain full pur­ Caprice fantastique) , and a fine career seemed port till long after the death ofits singer, till it to be ahead ofher. has accrued and incorporated the many passions, In addition to other responsibilities, Miss many joys andsorrows it has itselfaroused. Fuchs took on volunteer work entertaining -Walt Whitman patients at one ofNew York's hospitals, which "November Boughs" (1888) brought her into contact with the wealthy patron of music and pianist Edgar Leventritt. alt Whitman might equally well have They combined their energies, and Leventritt W written in the quotation above that no invited her to be a guest at his home, where great life can attain full purport till long after one of his favorite pastimes was playing cham­ the death of the one who lived it, and now ber music with friends and family. Later in one of our greatest lives has taken another life Miss Fuchs occasionally told the story of step toward attaining its full purport. We are looking up over her music stand one night bereft of Lillian Fuchs, one of our beacons and noticing the handsome violist across from and standards, who passed from among us her. He was Ludwig Stein, a businessman and at the age ofninety-two on 6 October 1995 at amateur musician who often participated in the Actors' Fund Nursing Home in Engle­ the Leventritts' chamber music evenings. wood, New Jersey. Miss Fuchs decided that evening to marry Miss Fuchs was born on 18 November the violist, and in 1930 she did so. This 1902 (not 1903, as is sometimes given) in charming and gentle man, who became her New York. She took up the piano at an early companion and help through life, died in age, both as soloist and as accompanist for her 1992; his loss was felt keenly by all who knew brother Joseph's lessons with Louis Svecenski, him, not least by his wife's students, for violist of the famed Kneisel Quartet and vio­ whom he always found an encouraging and lin teacher at the Institute of Musical Art well-chosen word. (now the Juilliard School of Music). She Sometime around 1925, Kneisel's advice longed to make the violin her instrument, and the opportunity to play with his daughter however, and under the tutelage of Svecenski in a quartet had caused Miss Fuchs to give developed quickly enough to begin study the viola a try. It was to be a fateful choice. with Franz Kneisel himself at the Institute. That first quartet did not last long, but Miss She also studied composition with Percy Fuchs's ability as a violist was shortly there­ Goetschius, who found her a promising after called upon by the Perole Quartet, pupil. At her graduation in 1924, she was of which she was a member from its foun­ awarded a silver medal and two prizes, includ­ dation in 1927 to its disbanding in 1942. ing one in composition. Meanwhile, the Leventritts' chamber music Miss Fuchs made her New York debut as a evenings had brought her into contact with violinist in 1926. In the next year she gave the Budapest Quartet, who recognized her a second successful New York recital on violin ability by inviting her to play a quintet with (playing, among other things, her own them in a concert in New Jersey. In addition, a new work for Viola & Piano .

Dance Bagatelles Dexter Morrill

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she had begun her career as a chamber music Joseph was also instrumental in the found­ coach. Rosalie Leventritt had agreed to let ing of the Musicians' Guild, a chamber her home be used as a place where aspiring ensemble in which Miss Fuchs participated string players could meet and learn the art of until its cessation in 1957. The Guild allowed chamber music on the condition that Miss Miss Fuchs to explore a wide repertoire, and Fuchs preside over the weekly sessions. It was many of the important works written for her, at the Leventritt home that a young violinist with or without her brother, were first pre­ from the West Coast became one of the sented on Guild concerts: Bohuslav Martinu's first to experience Miss Fuchs's masterful in­ Sonata for Viola and Piano, his Three struction: Isaac Stern. She also worked with Madrigals, and his Duo for Violin and Viola; Pinchas Zukerman and may well have been Quincy Porter's Duo for Viola and Harp; and the first to put a viola in his hands, during a Jacques de Menasce's Sonata for Viola and session on a late quartet of Beethoven. "He Piano, among many others. had no problems and I thought, 'I can't let Miss Fuchs and her brother also began per­ that boy go along with no problems,' so I forming the Mozart Duos, K. 423 and 424, handed him my viola and told him to play with which their names would be virtually the viola part. Again, no problems!" she later synonymous for decades. Olin Downes wrote remembered. 1 ofa performance of the second duo under the "My viola" was probably the Gaspar da Sal'i auspices ofthe New Friends ofMusic in 1948 instrument that was associated with her that "the performance was remarkable for throughout her performing career. Through its finish, spirit, and balanced musicianship. the influence of her brother Joseph, it was There have been occasions when it could be made available to Miss Fuchs by their old said ofJoseph Fuchs that he was the virtuoso, teacher, Louis Svecenski, and she continued and his sister, with her noble tone and her to play and record with it for nearly fifty fundamental soundness ofstyle, the musician. years. Yesterday the virtuoso was also a first-class musician, and the musician yielded nothing Lillian & Joseph to her companion as a virtuoso throughout."3 Among the turning points in Miss Fuchs's The two left to posterity a tantalizing glimpse career was her appearance with her brother of this performance and many others in the Joseph in March 1945 playing Mozart's recordings they made. S infonia Concertante with the National Indeed, Miss Fuchs has left us many record­ Orchestral Association. Olin Downes wrote ings of outstanding quality and rare beauty, afterward that "it is not often one finds such a including a striking reading of Debussy's viola player as Miss Fuchs, one who summons Sonata for Flute, Viola, and Harp. She record­ such beauty of tone and of sculptured phrases, ed the Sonata with Julius Baker, flute, and and reveals such noble poise and feeling."2 Laura Newell, harp, the same musicians with This event was the beginning of a long and whom she had performed the work at a Guild treasured association both with her brother concert in January 1955. Howard Taubman and with this work, which had been seldom noted of that performance that "the curve and played before the duo took it up. Among the logic of the piece were always there like firm only recordings of Miss Fuchs currently avail­ underpinning,"4 and the recorded reading able on CD is a 1953 broadcast performance eschews the nebulous atmospherics of too of the Mozart Sinftnia Concertante with her many later performances. brother and the Prades Festival Orchestra, Among her greatest contributions to the Pablo Casals conducting. Their reading recorded legacy of the viola, however, are her sparkles with the life and touches with the recordings for Decca ofthe Six Cello Suites of warmth these great performers brought to it. Bach. Miss Fuchs was the first violist to take 67

up these suites after they had been resurrected than a mere "arrangement" of the Mozart from nearly complete obscurity by Pablo Violin Concerto in G Major, K. 216, for Casals. It is impossible to single out one of viola and piano. these recordings as her greatest performance, The viola works have been commented but she sometimes spoke of the recording of upon in another writing at greater length the demanding Sixth Suite with satisfaction. than is possible here'? but it is worth noting After she played that Suite at a Guild concert that the books of studies appeared in reverse in April 1948, Ross Parmenter commented order of difficulty: the Caprices were written that "the gorgeous tone and the apparent by Miss Fuchs to help her deal with the diffi­ technical ease of her playing were striking cult technical problems she herself encoun­ enough, but the familiar way she seemed to tered as a violist, but the Etudes and Studies live again in Bach's period as she played was were written for her students, to enable them even more surprising. She knew its court to prepare systematically for the earlier work. manners, as well as the profound thoughts of With characteristic energy, having discovered one of the noblest of musicians. She deserves the lack of true viola study materials of an the bravos."" appropriate level of difficulty, Miss Fuchs Her recordings of the Bach Suites may well simply pitched in and wrote them herself. have inspired Ernest Bloch's final work, a The Sonata Pastorale, which she herself pre­ Suite for Solo Viola that remained unfinished miered at a Guild concert in 1953, is her one at his death. While Bloch's Suite was not writ­ original contribution to the concert literature ten for Miss Fuchs, it was not clearly intended of the viola (although many of the study for anyone else, and Bloch had heard the works can be presented to wonderful effect). Bach recordings and only a year before begin­ The Sonata represents a fitting conclusion to ning the Suite had written to tell her how her viola output in that it encapsulates per­ impressed he had been by them. 6 After the fectly her approach both to music and to the recordings went out of print, Miss Fuchs viola. Fortunately, she had the good sense not often agitated for their rerelease, but to no to make it as difficult as the Caprices! avail. She occasionally predicted that they Miss Fuchs began teaching the viola sur­ would be rereleased only upon her death; we prisingly late in life. She refused William can take some heart by hoping that in this she Schuman's invitation to join the Juilliard was prophetic. School viola faculty in 1961; she was willing to teach chamber music, but Schuman was As Composer not interested. The Manhattan School of In 1950 Miss Fuchs's activity as composer Music hired her for just that purpose the began to result in publications. In addition to following year, and she began in earnest some short pieces for violin (including the the teaching phase of her contribution to Caprice fantastique already mentioned and a the viola. She went on to teach at Juilliard Jota that has been recorded several times), she (though not until 1971), the Mannes School, focused on music for viola alone, in accor­ and the Cleveland Institute of Music; sum­ dance with her dictum that "nothing sounds mers she spent at Kneisel Hall, the Aspen as good with the viola as nothing." First Festival and School, and the Banff Center for to appear were the Twelve Caprices in 1950, the Arts. With her vast enthusiasm for the followed by the Sonata Pastorale in 1956, the music she taught, she inspired generations of Sixteen Fantasy Etudes in 1959, and violists and chamber musicians to accomplish the Fifteen Characteristic Studies in 1965. feats ofwhich they would never have believed She also published piano accompaniments themselves capable. for some ofthe Paganini 24 Caprices, op. 1, for My experience of her teaching was in violin, and an extraordinary rethinking more many ways typical: I first met this revered 68

legend at my audition for entrance to the was widely considered closed to women. Manhattan School of Music. I played: no Throughout her career, both as soloist and as comment from the jury. I was asked to wait charrtber musician, she was frequently the outside; a few minutes later she came out, only woman on a stage otherwise filled with asked a few questions, shook a finger at me, men. Her unwillingness to be taken for granted and said, "We'll make a violist out of you and her exceptional ability and musicianship yed" I could not help but be charmed and inspired admiration that transcended her gen­ gladly followed the advice of an earlier der, but her example gave other women a role teacher, who had warned me to make sure model and made it easier for them as they I studied with someone who wasn't too im­ came along. Her light has not gone out; her pressed by what I had already accomplished. song has not yet achieved its "full purport," When, five years later, she had guided me and will not until history can look back through my master's and doctoral studies and on the thousands of musicians, many still we had finally arrived at our last lesson unborn, whose lives her life touched. She lives together, she shook her finger at me once on in the minds and hearts of generations of more and said, "Boy, it's sure going to be string players. We bring to our students the less colorful around here without you!" In traditions she so proudly brought to us. We between, she took a musician of talent and loved her and will revere her forever. showed him what accomplishment looked and felt like. She didn't merely teach me how music and the viola were to be played-she 1. Dennis Rooney, "Traditional Values," The taught me how to reach for the highest level Strad 96: 678. 2. Olin Downes, "Barzin Presents Modern I could attain. Concerto," New York Times 13 Mar. 1945. I was always acutely aware of and interested 3. Olin Downes, "New Friends Open Their in the many traditions she embodied: the 13th Season," New· York Times 1 Nov. 1948. legacy of Johannes Brahms she had inherited 4. Howard Taubman, "Music: Musicians' from Kneisel, who had been Brahms's friend Guild," New York Times 11 Jan. 1955. for many years; the legacy ofher coaching ses­ 5. Ross Parmenter, "Musicians' Guild in sions with Ralph Vaughan-Williams on his Season Finale," New York Times 20 Apr. 1948. 6. The Suite is published by Broude Brothers Flos Campi, and the intimate knowledge Limited, which has also published my Conclusion ofthat work he had left with her; the legacy of to the work. That Conclusion is based upon her longtime collaboration with Martinu, per­ Bloch's surprisingly explicit sketches, but I haps best summed up in her knowledge ofhis reviewed Miss Fuchs's Bach recordings, among Rhapsody-Concerto, a work that, while not other things, in preparation for the task of com­ dedicated to her, had certainly been written posing it. with her playing clearly in mind. She gave the 7. David Sills, "The Viola Music of Lillian Fuchs," American String Teacher 35 (Spring first New York performance of the Rhapsody­ 1985): 60; Michael Palumbo, "The Viola: Its Concerto in 1962 with the National Orches­ Foundation, Role, and Literature, Including an tral Association and lent me a recording to Analysis of the Twelve Caprices of Lillian Fuchs," listen to, leaving me with an indelible memory D.A. dissertation, Ball State University, 1981. ofher masterful interpretation. Miss Fuchs was a shining light for the viola -DavidSills and in music, not the least because of her Ball State University contribution as a woman in a profession that Muncie, Indiana 69

Virginia Majewski

"\ Jirginia Majewski, renowned violist, American Art Quartet, which had a close V violist d'amore player, and keeper of association with the Evenings on the Roof musical tradition, died 9 October 1995 in her series (which later was renamed and exists home in Los Angeles, CA. She was eighty­ today as The Monday Evening Concerts). eight. Her unique abilities and consummate Also on that series she played viola d'amore in artistry placed her at a level that few musi­ the Ancient Instrument Trio with Alice cians have attained, performing with many Ehlers, harpsichord, and Rebecca Hathaway, great artists who considered her an equal. viola da gamba. Virginia was born in 1907 in Norfolk, Her recordings with Jascha Heifetz, Gregor Virginia, to parents Julia Warner and Otto Piatigorsky, and William Primrose merited Majewski. She also had a brother, Warner a Grammy, and her collaboration with Brazil­ John, born six years earlier. Her father (who ian guitarist Laurindo Almeida and hornist left Hanover, Germany, at age seventeen) was Vincent De Rosa earned her a Grammy nom­ an army bandmaster and arranger for John ination. The great film composer Bernard Philip Sousa, who came from a large family Herrmann (primarily noted for his work of classically trained musicians. Because in many of the Hitchcock films and numer­ Virginia's father was in the army, they moved ous classics such as Citizen Kane, Jane Eyre, frequently. Her mother taught piano and and The Day the Earth Stood Still) featured English and conducted a children's orches­ Virginia's beautiful viola d'amore playing as a tra in San Antonio, Texas. At an early age major component in the film On Dangerous Virginia began her violin studies with her Ground and even insisted that she receive father and by the age of eleven was studying film credit. He considered that score to be at the Indiana College ofMusic and Fine Arts his favorite. For nearly twenty-five years she under Ferdinand Schaeffer. A few years later, was also principal violist of the Glendale after graduating from Eastman with a BA Symphony. degree, she attended the Curtis Institute as a I will always remember Virginia as a very full scholarship student of Louis Bailly. While kind, thoughtful, and exceedingly generous there, she formed the Trio Classique with person. She was an impassioned animal lover violinist Eudice Shapiro and flutist Ardelle and was always there for many a homeless Hookins. After leaving Curtis she became a pet. Her strict upbringing guided her onto a member ofthe Marianne Kneisel Quartet. path of commitment and confidence in all When she arrived in Los Angeles in 1938, her professional pursuits. With those for she had opportunities to play chamber music whom she cared most, her self-effacing nature with Toscha Seidel, who recommended her would sometimes give way to strong criti­ for the contracted principal viola position at cism, but this was her way ofexpressing a love MGM. She held that position until contract and a concern that few have. orchestras were disbanded about 1958. She With the passing ofVirginia Majewski, we was also principal violist at the Universal all feel a great loss. Her legacy as an artist will and RKO studios. Her high visibility as a live on in recorded form, but more impor­ principal player was unusual, even remarkable tantly the love she gave to us will live on in considering that in those days, orchestras our hearts. represented a male-dominated profession. During those early days in Los Angeles, she -RolandKato performed and recorded with the very fine Los Angeles 70

Cathy Basrak, the 1995 winner of the AVS Csaba Erdelyi announces his viola master­ sponsored Primrose Memorial Scholarship course dedicated to the new edition of the Competition, was given the first prize at Bart6k Viola Concerto and to all works for the Irving M. Klein International String viola by Hindemith. This will take place at Competition. the Hindemith Foundation at Blonay (Lake Geneva), Switzerland, 6-13 May 1996. Contact immediately Professor Erdelyi at P.o. Box 5932, Bloomington, IN 47407; tel 812-331-0244, fax 912-334-3283.

...... -:-:-: .. -: N okuthula N gwenyama performed the s Concerto in B Minor by Handel-Casadesus at 1I_1'llIlll Alice Tully Hall on the Young Concert Art­ James Dunham, violist with the Cleveland ists Series, Tuesday, 12 March. Lawrence Quartet, has joined the string faculty at the Leighton Smith conducted the New York New England Conservatory in Boston. Chamber Symphony.

Peter Slowik has been appointed to the faculty at the Cleveland Institute ofMusic for the 1996-97 academic year. He will continue Patricia McCarty's performances are his duties as professor of viola at North­ 25 March for the New York Viola Society at western University as well. Mannes College ofMusic; 20 April in a presentation of short Romantic pieces for young students at the ASTA convention in Kansas City; 15 June at the Sarasota Festival with Joseph Maurice Gardner, prominent composer for Silverstein in Benjamin's Romantic viola, is eighty-seven and still writing, accord­ Fantasy; ing to an article in the Miami Herald. Among 5 July at the Brevard Festival in Serly and the works occupying his time is a new concerto Jarrett's Bridge o/Light. for viola and chamber orchestra.

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TlitVItilaXoday·in Greater LA

he opening months of 1996 have provided This is not to ignore some differences. The T Southern California with at least four Cary Belling Concerto, with Karen Elaine as viola events that show the instrument is performer, was presented by The Burbank far from obscure in our community. On Chamber Orchestra, Steven Kerstein, conduc­ 14 January the San Diego-based viola virtu­ tor. The site was the Hall of Liberty in Forest oso Karen Elaine presented a program on the Lawn cemetery, located on the east slope of Los Angeles County Museum of Art series the Hollywood Hills. This particular Saturday called Sundays at Four. She was assisted by night was unusually dark and rainy. The Hall the University of California at San Diego of Liberty is located far into the cemetery New Music Ensemble, among others. A week grounds which, of course, are not normally later on 21 January, Evan Wilson, principal visited at night and so are not lighted. The violist of the Los Angeles Philharmonic, was drizzly wet single-lane drive, winding slowly the featured soloist with the Claremont up the hill, past vague outlines of white Young Musicians Orchestra, Roger Samuel marble statuary, a misty reproduction of The conducting. The concert was given at the Old North Church, clumps of grave markers, beautiful Bridges Hall of Music in Clare­ solitary guides with flashlights trying to keep mont. Mr. Wilson played the venerable concertgoers on the right path made for quite Telemann Concerto in G Major and the a different approach to a world premier. Bruch Romance, which is not often heard The auditorium itself is spacious and with orchestral accompaniment. The notion seemed to hold about 1500 persons on this of a superb artist presenting literature often occasion, with extra seating provided for the thought of as student material seems entirely overflow audience. In spite of a nonreverber­ appropriate for this organization and should ant acoustic, Miss Elaine sounded first-rate, be done more often. playing a modern instrument by Nicholas On 27 January, Karen Elaine played the Frirsz. The Concerto uses a reduced orches­ premier performance of Concerto for Viola tra, which accommodates the viola's inherent by Cary Belling, and on 11 February, Dan projection problems. Belling has a feeling for Thomason presented the first performance of colorful orchestration and perhaps some the even bigger (longer) Viola Concerto by experience in the world of commercial music. Terry McQuilkin. The orchestral presence is There was interesting use of harp, percussion, important in both works. These two events tremolo, harmonics and the like. The viola had many things in common. Both soloists was never really covered by accompaniment. are prominent members of the American The piece, lasting twenty-four minutes, has Viola Society. The composers are members of contrasting sections, but is in one movement, the Southern California musical community. with a long cadenza. The sponsoring organizations are regional The Rio Hondo Symphony is in its sixty­ orchestras, supported by local communities, third season, with Wayne Reinecke as its cur­ presenting music at a high performance stan­ rent conductor. The Whittier High School dard. Both premiers are real evidence of Auditorium is its normal home. Built as a fed­ enthusiasm for fostering new music. There eral works project in 1940, the auditorium is were capacity audiences at both concerts. The an example of high school architecture that performances featured free admission, as did reflects the community high school as a cul­ the Sundays at Four and the Claremont tural, intellectual, and entertainment focus for Orchestra concerts. a town's population. Its generous proportions 74

and art deco style is welcome relief from work is nearly forty minutes long and was the efficiently sterile atmosphere found in presented with great dignity, even restraint, most schools of today. On 11 February, the by Thomason. There are many opportunities auditorium was the venue for the afternoon for the violist to revel in beautiful viola performance of the Russlan and Ludmilla sound, and the instrument by the Swiss Overture by Glinka, the Viola Concerto by maker Vidoudez, used on this occasion, was Terry McQuilkin, and the Shostakovich certainly up to the task. There are moments Fifth Symphony. McQuilkin, who wrote the of beauty but not rapture, interest but not Viola Concerto for Dan Thomason specifi­ excitement, pleasure but not intensity. This is cally, is known to the Los Angeles musical a well-crafted piece and demonstrates a com­ community as a music critic for the Los mand ofcompositional techniques. It certainly Angeles Times. The Viola Concerto was the deserves repeated performance. dissertation for McQuilkin's doctorate in composition, earned at the University of - Thomas G. Hall Oregon in Eugene. The three-movement Chapman University

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Don Ehrlich, assistant principal viola of the San Francisco Symphony, has been a frequent soloist and chamber musician in the Bay Area and around the world. He received his B.M. from Oberlin Conservatory, his M.M. from the Manhattan School of Music and his D.M.A. from the University of Michigan. Geraldine Walther, principal violist of the San Fran­ Leonid Gesin is a member of the San Francisco cisco Symphony, is former assistant principal of the Symphony and several chamber music groups including Pittsburgh Symphony and a participant in the Santa Fe the San Francisco Chamber Orchestra. He studied with Chamber Music Festival. She studied at the Curtis A.G. Sosin at the Leningrad State Conservatory, then Institute of Music with Michael Tree and at the Manhattan performed with the Leningrad State Philharmonic and School of Music \\lith Lillian Fuchs, and won first prize in taught before emigrating to the United States. the William Primrose Viola Competition in 1979.

Paul Hersh, former violist and pianist of the Lenox Denis de Coteau, music director and conductor for the Quartet, studied viola with William Primrose and San Francisco Ballet Orchestra, has conducted dance attended Yale University He has performed with the San companies, youth orchestras and major symphonies Francisco Symphon~ the San Francisco Chamber throughout the world. He has received a variety ofawards Orchestra and many other groups. He has also made a and commendations, earned his B.A. and M.A. in music number of recordings and has been artist-in-residence at from New York Universi~ and holds a D.M.A. from unIversities and music festivals in the u.S. and Europe. Stanford University

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CHAPTERS

Editor's Note: Each president ofa local AVS chapter should have news about chapter activities sent to the Editor ofJAVS.

n 8-9 January, the Utah Viola Society graduated from the Violin Making School of O celebrated the centenary of Paul America in Salt Lake City. A recital by BYU Hindemith with performances featuring his students featured not only music by Hinde­ music. Held on the campus of Weber State mith but by Shulman, Bloch, and Holst. University in Ogden, the Hindemith Viola Clyn Barrus conducted an excellent and Festival presented student recitals, master informative master class with students from classes, an exhibition of violas by Utah mak­ Weber State University, who performed works ers, and concerts by artist performers. The by Hindemith, Bloch, and Handel. This festival opened with a student recital in which wonderful celebration of Hindemith and his works by Handel, Bach, and Walton were music culminated with a concert featuring performed. Following the recital, the festival performances by Lynn Rilling of the Sonata welcomed guest artist Marcus Thompson, Ope 11, no. 4, and Leslie Blackburn Harlow successful soloist and member of the fac­ with Der Schwanendreher, and a performance ulty at the New England conservatory. of Hindemith's Minimax Quartet by BYU's Mr. Thompson gave valuable insights into Deseret Quartet via video tape. the music of Hindemith in his master class Thanks to the efforts of Dr. Michael with viola students from Brigham Young Palumbo, professor of viola at Weber State University. Performed in this class were University, and with generous funding by Der Schwandreher and the Sonata for Viola WSU, the festival was a wonderful celebra­ and Piano, Ope 11, no. 4. The first evening, tion of one of the most important contribu­ Dr. Thompson took the stage with Dr. Clyn tors to the viola repertoire. Not only was the Barrus and Dr. David Dalton, both professors festival a tremendous success, but it also at BYU, in "An Evening with Hindemith." marked the official beginning of a new state They performed the Sonata 1939, Trauer­ chapter of the American Viola Society. The musik, and Sonata Ope 25, no. 4, respectively. establishment of the Utah Viola Society, in The second day's activities began with this the year of the Utah Centennial of State­ an exhibition of instruments. Those attend­ hood, promises to be an effective advocate for ing had the opportunity to see and play the viola, violists, and viola music in Utah. many instruments handcrafted by Utah makers. About a dozen and a half makers of -Natalie Burton violas reside in the state; some of them have Brigham J0ung University 78

NEW WORKS

Duets for Two Violas (arranged by Robert Israel from a chamber orchestra work ofJ. S. Bach and a piano sonatina of Beethoven). Just published by G. Schirmer, Inc., is The Privately published by the arranger, 1992. Virtuoso Violist, transcriptions and editions by These are welcome additions to the didac­ William Primrose. These are six heretofore tic duet repertory, because the melodic mate­ unpublished works taken from manuscripts rials are traded back and forth. Interesting in the Primrose International Viola Archive and tonal. Difficulty level: high school and that include the Sarasateana by Zimbalist, above. Hugo Wolf's Italian Serenade, two caprices by Myronoff and Wieniawski, a nocturne by Recontres (solo viola). Michele Reverdy. Chopin, and a short piece by Bach. Preface is Gerard Billaudot/Theodore Presser, 1994. by David Dalton. Distributed through Hal Atonal and harsh. Eight minutes of seem­ Leonard Corp., 7777 W. Bluemound Rd., ingly dated ponticello, pizzicato, and other EO. Box 13819, Milwaukee, WI 53213. effects. The considerable effort necessary to learn the work may not be justifiable. Dif­ ficulty level: graduate student and above.

- The above reviews courtesy ofJeffrey Showell Concerto for Viola (reduction for &The American String Teacher. viola/piano by John Ireland). Cecil Forsyth. Schott, reprint ofthe 1904 ed., $19.95. With a duration of twenty-five minutes, this concerto is probably a bit too long for its material, but it is still an interesting and wel­ come addition to the viola repertory. The Introduction et allegro by Chantal Auber work is typical of the serious school of (Editions Durand). English composition before World War I and fits well on the viola. It should, because Ciaconetta by Lee Hoiby (Theodore Forsyth was a violist. Difficulty level: under­ Presser). graduate and above.

Couleurs pour une sonate imaginaire Rhapsodie (reduction for viola/piano by (Editions Musicales Alphonse Leduc). Gunther Dornheim). Jean Frans:aix. Scott Edition #8116, 1993 (composed 1946), $25. Dvorak's Humoresque & Saint-Saens's Le Like most for Frans:aix's compositions, this Cygne (Editio Musica Budapest). work is full of energy, though it also seems more tonally and formally conservative than Fantasy by Frederick Koch (Southern many of his other works. These nine minutes Music Company). of not-insignificant technical demands are surprisingly well written for the viola by a Sonata for Viola and Piano by Thomas composer better known for his wind compo­ Pasatieri (Subito Music Publishing, distrib­ sitions. Difficulty level: graduate student and uted by Theodore Presser). above. 79

RECORDINGS

Bloch: Works for Viola and Piano. Ernst Hindemith: Trauermusik. Britten: Lachrymae. Wallfisch, viola; Lory Wallfisch, piano. Stuttgart Chamber Orchestra; Kim Kashkashian, ebs 6044. viola. ECM New Series 1506 78118-20002-2. (Distributed by BMG.) Emil Bohnke: Sonata for Solo Viola; Sonata for Solo Cello; Sonata for Solo Violin, String Hindemith: Concerto for Viola; Der Schwanen­ Quartet. Rainer Klass, violin and viola; Verdi dreher. Georg Schmid, viola; Bavarian Radio Quartet; Bernard Schwartz, cello; Alkan Symphony Orchestra. Schwann CD 310045 HI Trio. MDG Gold. (Distributed by Koch (CD 70). International.) Eleni Karaindrou: Ulysses Gaze. Kim Kash­ Britten: Lachrymae; Elegy; A Simple Symphony; kashian, viola; et al. ECM New Series 1570 Variations on a Theme ofFrank Bridge. Lars 78118-21570-2. (Distributed by BMG.) Anders Tomter, viola; lona Brown, conductor. Review: Much more approachable music than Virgin VC 545121 2. Kashkashian's recent Kancheli recordings for ECM New Series. The only question I have is Clarke: Sonata for Viola and Piano; Trio for whether the music is ofsufficient weight to exist Violin, Cello and Piano. Bach: Quintet for with the film for which it was written. Piano and Strings. Garfield Jackson, viola; Endellion Quartet; Martin Roscoe, piano. Rubenstein: Sonata. Hindemith: Solo Sonata. ASV CD DCA 932. (Distributed by Koch Matousek: Intimate Music. Karel Dolezal, viola. International.) Arta 0062. (Distributed by Qualiton.)

Creston: Suite for Viola and Piano. Heiden: Schumann: Miirchenbilder; Miirchenerziihlun­ Sonata for Viola and Piano. Rochberg: Sonata gen. Kurtag: Nine Pieces for Viola solo. Jelek: for Viola and Piano. Albany Troy 141. Hommage a Robert Schumann for Clarinet, Viola and Piano. Kim Kashkashian, viola; Hindemith: Der Schwanendreher; Kammer­ Eduard Brunner, clarinet; Robert Levin, piano. musik no. 5; Konzertmusik for Viola and Large ECM New Series 78118-21508-2. (Distributed Orchestra. Paul Cortese, viola; Philhar­ byBMG.) monia Orchestra, Martyn Brabbins, conductor. ASV CD DCA 931. (Distributed by Koch Schumann: Miirchenerziihlungen. Bruch: Acht International.) Stuvir. Vladamir Mendelssohn, viola; Michel

Margin graphics from The Stringed Specialized Insurance Coverage for the Instruments ofthe & Middle Ages by Classical Vintage Musical Instrument Trade Hortense Panum • The most comprehensive ELLIS W. HERSHMAN and Jeffrey Pulver protection at reasonable cost. Heritage Insurance Services, Inc. 826 Bustleton Pike, Suite 203 (William Reeves • Underwritten by a financially Feasterville, PA 19053 Bookseller, sound A-rated company. London). • Call Toll Free today for 800-289-8837 information and quotation. FAX: 215-322-5854 80

Lethiec, clarinet; Roberte Mamou, piano. Berlioz: Harold en Italie. D'Indy: Symphony Pavane ADW 7334. on a French Mountain Air. William Primrose, viola; Nicole Henriot-Schweitzer, piano; Boston Schumann: Chamber works, 2 disks. Miir­ Symphony, Charles Munch, conductor. RCA chenbilder; Piano Quintet; Piano Quartet; Victor Gold Seal. 106213 D. Andante and Variations; etc. Nobuko Imai, viola; Martha Argerich, piano; et al. EMI CDS Vaughan Williams: Suite for Viola and 555484-2. Orchestra; Flos Campi. Frederick Riddle, viola; Bournmouth Sinfonietta and Choir, Norman Vaughn Williams: Riders to the Sea; Flos Campi; del Mar, conductor. Chandos CHAN 8374. Household Music. Philip Dukes, viola; et al.; Northern Sinfonia, Richard Hickox, conductor. Martinti: Rhapsody-Concerto for Viola and Chandos CHAN 9392. (Distributed by Koch Orchestra. Mikhail Topygo, viola; State International.) Symphony Orchestra, Eduard Chivzhel, con­ ductor. Consonance 81-0003. -The above new recordings submitted by David O. Brown Maes: Viola Concerto. Leo De Neve, viola; Royal Flanders Philharmonic Orchestra, Gerard Oskamp, conductor. Marco Polo 8.223741.

INDEX TO ADVERTISERS

Bartok Records 10 Samuel Kolstein & Son, Ltd. . 57 Bearden Violin Shop 50 Ira B. Kraemer & Co 71 Brigham Young University 41 Latham Music Enterprises 62 Butler University 49 Lee Jon Associates 54 Eric Chapman Violins, Inc. . 58 Steven McCann, Violas 74 Chenango Valley Music Press 64 Miller & Fein 44 Clarion Associates, Inc 34 Moes & Moes, Violin Makers 41 Classics Unlimited Music 49 Music City Strings 54 Russell L. Coe 49 Ernest Nussbaum 38 John M. Connolly & Co., Inc 60 Geoffrey Ovington Violins 59 Joseph F. Conrad II Luthier 54 RBP Music Publishers 60 Curtin & Alf 76 Terenzio Riegel 46 D'Addario 64 Dr. Maurice W. Riley 38 Dampit 46 Robertson & Sons 37 de Veritch Institute ofViola Studies 2 San Francisco Conservatory ofMusic 75 Claire Givens Violins, Inc. . 60 William Robert Scott 72 Todd Goldenberg, Violin Maker 72 Geoffrey J. Seitz, Violinmaker 62 Halcyon Productions 72 Shar Products Company 38 G. Henle USA, Inc. . 71 Kenneth Stein Violins 52 Heritage Insurance Services, Inc 79 Super-Sensitive Musical String Co 62 Mark Anton Hollinger, Violin Maker 64 Philip H. Weincrantz Musical Supply Co. .. 46 Byron Hoyt Sheet Music Service 52 University ofSouthern California 52 Ideal Musical Merchandise Co 4 Violaerobics 71 John-Brasil 41 Viola World Publications 57 8th International Viola d'aDlore Congress

July 25, 26, 27, 1996

to take place in the former cloister

MICHAELSTEIN flLStitut fiir Auffi1hrungspraxis der Musik des 18. Jahrhunderts

in Blankenburg/Harz, GERMANY

3 days of Concerts, Lectures, and Workshops \IJl.th international Viola d'amore players, teachers and scholars from Germany, Austria, France, England, Italy, Switzerland, Russia, Czech Republic, Canada, and the USA

with the assistance ofguest artists and members ofthe Telemann-Kammerorchester, in residence at Michaelstein For Information, Contact:

Viola d'amore Society of America 39-23 47th Street, Sunnyside, NY 11104, USA or 10917 Pickford Way, Culver City, CA 10917,USA Telephone: (718) 729-3138 or (310) 838-5509